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FALL 2011 VOL. 6, NO. 1

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VOL. 6

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Suitcase Stories Memories of the Michigan Symphony Band China Tour

20 Two Cultures As One



Leaders in Academia Gather to Advocate for Arts-Making at Research Universities

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Message from the Dean


View from the Pond


Once Upon a Dream


Alliance Takes a Much-Deserved Bow


Where There’s a Will


Faculty Notes


Meet Our New Faculty




Alumni Society


Alumni Notes


In Memoriam


Giving Update

Michigan Muse is now online: visit

On the Cover: Scenes from Michigan Symphony Band’s 2011 China Tour (Photos by Mark Clague) Opposite Page: Shanghai Grand Theatre (Photo by Mark Clague) Back Cover: Tianjin Concert Hall (Photo by Mark Clague)


The University of Michigan, School of Music, Theatre & Dance School of Music, Theatre & Dance Administrative Officers Christopher Kendall, Dean; Kevin T. Geralds, Chief Administrative Officer; Laura Hoffman, Assistant Dean for Admissions and Enrollment Management; Melody Racine, Associate Dean for Academic Affairs; Maureen Schafer, Director of Development & External Relations; Daniel Washington, Associate Dean for Faculty and Multi-Cultural Affairs; Steven M. Whiting, Associate Dean for Graduate Studies The Regents of the University of Michigan Julia Donovan Darlow, Ann Arbor; Laurence B. Deitch, Bingham Farms; Denise Ilitch, Bingham Farms; Olivia P. Maynard, Goodrich; Andrea Fischer Newman, Ann Arbor; Andrew C. Richner, Grosse Pointe Park; S. Martin Taylor, Grosse Pointe Farms; Katherine E. White, Ann Arbor; Mary Sue Coleman, ex-officio Nondiscrimination Policy Statement The University of Michigan, as an equal opportunity/affirmative action employer, complies with all applicable federal and state laws regarding nondiscrimination and affirmative action. The University of Michigan is committed to a policy of equal opportunity for all persons and does not discriminate on the basis of race, color, national origin, age, marital status, sex, sexual orientation, gender identity, gender expression, disability, religion, height, weight, or veteran status in employment, educational programs and activities, and admissions. Inquiries or complaints may be addressed to the Senior Director for Institutional Equity, and Title IX/Section 504/ ADA Coordinator, Office of Institutional Equity, 2072 Administrative Services Building, Ann Arbor, Michigan 48109-1432, 734-763-0235, TTY 734-647-1388. For other University of Michigan information call 734-764-1817. Marilou Carlin, Writer & Editor 734.763.1478 Design by Michigan Marketing & Design

Photos by Peter Smith Photography unless otherwise noted.

Michigan Muse is published twice annually, Fall and Spring

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“In the far-reaching and urgent national conversation about what the future of higher education will look like, I suggest that it might well look a lot like our students.” —DEAN CHRISTOPHER KENDALL

We are more than a little biased, but there is just no doubt that School of Music, Theatre & Dance students are incredibly hard-working, brimming with talent, and always aspiring to excellence. There are inspiring demonstrations of this fact every single day, but two recent and remarkable events serve as examples: In the more recent example, the SMTD was asked to provide the centerpiece of this year’s Presidential Societies Weekend on September 16. With only days to rehearse, our orchestral, vocal, musical theatre, and jazz students, along with historians and performers from our faculty, all aided and abetted by our dedicated staff, lectured and performed brilliantly on the stage of Hill Auditorium. This scintillating presentation of the music and lyrics of George and Ira Gershwin dazzled President Mary Sue Coleman and top supporters of the University of Michigan. The appearance on stage of one of the opera world’s most celebrated artists, the wonderful soprano and U-M alumna Jessye Norman, did not diminish the event’s impact! The concert not only started the year off with spectacular fanfare, it also demonstrated that the arts are very much at the heart of this great research university. The other example actually took place over a number of days last May—twenty-four to be exact, involving eleven performances and one hundred individuals. Those were just some of the numbers relating to the China Tour by the University Symphony Band. Inspired by the legendary fifteen-week tour of Russia, Eastern Europe, and the Middle East by the 1961 Symphony Band, the 2011 China Tour exceeded every expectation. The performances

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were consistently outstanding, living up to the observation, made by many, that this ensemble represents the top of the form. Just as impressive was the consistent level of responsibility and collegiality exemplified by our students. There was an abiding, collective care among the ensemble members, and a clear respect for high artistic standards, for our institution, and for the warm and enthusiastic audiences across China. I know that the band members returned from the trip more deeply engaged with the world and prepared to be the next generation’s cultural emissaries. These two illustrations speak to a central mission of the School: preparing our students to be “citizen artists”—dedicated artists, scholars, and educators deeply responsible to their communities, local and global. In the far-reaching and urgent national conversation about what the future of higher education will look like, I suggest that it might well look a lot like our students: fully engaged in developing their skills to the highest level while exploring the synergies among disciplines, and the creative capacity to think and act beyond borders. Yours,

Christopher Kendall, Dean Paul Boylan Collegiate Professor of Music School of Music, Theatre & Dance

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Baird Carillon Renovated and Celebrating 75th Anniversary It’s been silent since April 2010, but the Charles Baird Carillon, 120 feet up in Burton Memorial Tower (BMT) on Central Campus, is once again ringing loud and clear. Steven Ball, University carillonneur and assistant professor of organ and carillon at SMTD, oversaw a complete refurbishing to restore the original 1936 carillon to pristine condition. Now completed, the University celebrated the carillon’s 75th anniversary on December 4 with Ball recreating the dedicatory recital that was performed when the carillon was first played on that date in 1936.

Prior to the December celebration, the restored Baird Carillon was unveiled last June with a day of multiple performances on the newly renovated bells, along with a spectrum of other events, during the week-long joint meeting of the World Carillon Federation and the Guild of Carillonneurs. The Charles Baird Carillon is the principal teaching and performance instrument of the oldest program for the study of carillon and campanology in the nation. Donated by

Charles Baird, U-M graduate and former U-M athletic director, the original carillon was replaced in a 1974 renovation and almost sent to the scrapyard before being rescued by Ball. Also restored is the original keyboard, discovered in a warehouse of its owners, the Verdin Company, makers of bells, carillons, and towers. The keyboard was saved from obsolescence by Dr. James E. Harris, a world-famed Egyptologist and great supporter of organ and carillon at SMTD, who funded its restoration.

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Conductor Kenneth Kiesler and University Symphony Orchestra Honored Kenneth Kiesler, director of University Orchestras and SMTD conducting professor, and the University Symphony Orchestra (USO) were respectively chosen to receive the American Prize in Orchestral Conducting and the American Prize in Orchestral Performance (college/university division). In accepting the prizes, Professor Kiesler said, “We are honored by the selection, and will regard this not only as affirmation of the work we have been doing, but as an inspiration as we move forward.” The American Prize is a series of non-profit, national competitions, unique in scope and structure, designed to recognize and reward the very best in the performing arts in the United States. It was founded in 2009 and has been awarded annually in many areas of the performing arts since 2010. In selecting Kiesler and the USO as the recipients of its top orchestral awards in the college/ university division, the American Prize judges described the USO as “one of the world’s leading student orchestras” and cited the ensemble’s extensive repertoire and impressive recording and touring history.

Richard Perry and Jane Fonda Hold Q&A with U-M Students In October, U-M alumnus Richard Perry, recognized as one of the most successful record producers of all time, returned to campus with his partner, Academy Award-winning actress Jane Fonda, to

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answer questions about their careers and offer advice to students interested in breaking into their respective fields. Perry (BMus ’64) has produced dozens of top-selling albums and singles with some of the biggest names in music, including Barbra Streisand, Rod Stewart, and Carly Simon. He was honored by U-M in 1975 with an Outstanding Achievement Award and that same year established the “Richard Perry Scholarship.” At the intimate Q&A session at Rackham, he and Fonda talked candidly about their lives and careers, discussing the challenges and rewards of their artforms and offering insight into their creative processes. The couple also received a tour of U-M’s North Campus, about which Perry said he was “blown away,” particularly in regard to the Walgreen Drama Center and the extensive recording and technology studios at the Duderstadt Center. He added that if he were a student at U-M today he “would never leave North Campus.”

Carnegie Hall Welcomes U-M Profs. Daugherty & Porter SMTD will be well represented at Carnegie Hall in March when flute professor Amy Porter takes the stage to perform Trail of Tears for Flute and Orchestra by composition professor Michael Daugherty. Performed with the American Composers Orchestra (ACO) under the direction of George Manahan, the NYC debut of the concerto takes place on March 22 at 7:30 p.m. The ACO, whose mission is to create opportunities for American composers, is presenting Trail of Tears on a program of “musical narratives that connect our national past, present, and future.” The

moving concerto was inspired by the forced and tragic relocation of the Native American Cherokees in 1838. “It is a dream come true to perform Trail of Tears at Zankel Hall in Carnegie Hall with this esteemed group,” said Amy Porter. “Trail of Tears is a true


vehicle of expression and I think Michael’s writing makes fantastic use of the instrument. I try to channel the writings of the Native Americans, as well as think about their pain and memories of their homeland, and it inspires me to be mournful, meditative, and take the listener with me through these emotions.”

“Viva Ginastera” Festival Presents World Premiere of Concerto The life and music of Alberto Ginastera, the leading Argentinian composer of the twentieth century—who was significantly connected to U-M at the height of his career—was celebrated with a multi-day “Viva Ginastera!” festival at SMTD in December. Featuring multiple lectures and concerts, the centerpiece of the festival was

the world premiere of Ginastera’s Concierto Argentino with renowned pianist and SMTD alumna Barbara Nissman (BM ’66, MM ’66, DMA ’69) and the University Symphony Orchestra led by Kenneth Kiesler. Also included were Ginastera’s First and Second Piano Concertos. All three works were recorded by Nissman and the USO for later release. Nissman enjoyed a long collaboration with Ginastera, beginning with her performance of his First Piano Concerto at U-M in 1970, when he was the composer-in-residence for U-M’s Contemporary Festival. Known for her recordings of the solo and piano/chamber works, Nissman recently discovered the manuscript for Concierto Argentino (written in 1935 and then withdrawn by the composer) in the Fleisher Manuscript Collection in Philadelphia. Aurora Nátola-Ginastera, the late widow of the composer, granted Nissman the exclusive rights to perform and make the first recording of the concerto.

Tennessee Williams @ 100 The Department of Theatre & Drama presented the “Tennessee Williams @ 100 Conference” in October, celebrating the centennial of one of America’s most controversial and acclaimed dramatists. Over four days, scholars, playwrights, and theater artists shared their perspectives on Williams’s impact on theater and the American consciousness, and explored his enduring influence on writers. Presented in conjunction with the Department’s production of Williams’s Suddenly Last Summer, the conference included multiple panels


presenting papers and discussing the genius of the two-time Pulitzer Prize-winner’s works and his themes of identity, sexuality, race, religion, age, class, and culture. The Residential College of the University performed two of Williams’s one-acts, The Parade and Talk to Me in the Rain, and a staged reading of Something Cloudy, Something Clear. Plus, the 1959 film version of Suddenly Last Summer was screened, with a discussion led by Frank Beaver, professor emeritus of speech and communications. The conference’s keynote speaker was award-winning playwright Christopher Durang. His parody of Williams’s The Glass Menagerie, titled For Whom the Southern Belle Tolls, was performed by Basement Arts, the Department’s student-run company.

SMTD and Jessye Norman Headline at Presidential Societies Weekend The 2011–2012 school year had just commenced when the SMTD was invited by U-M President Mary Sue Coleman to play a major role in the prestigious Presidential Societies Weekend in September. The annual event featured a special tribute to the music of George Gershwin with a lecture by associate professor of musicology Mark Clague and many student performances. The concert culminated with a performance by legendary soprano and SMTD alumna Jessye Norman. Norman has a long history of returning to U-M to help mentor the next generation of emerging artists, and during this visit she gave generously of her time, conducting a master class for voice students and providing each with an

individual critique. Jessye Norman’s visit to U-M was made possible by Ambassador and Mrs. Ronald Weiser.

Exploring Einstein on the Beach and Other “Renegade” Works SMTD and UMS join forces this winter to help audiences delve deeper into performances comprising UMS’s “Renegade” series, which focuses on innovation and experimentation in the performing arts. Musicology professor Mark Clague will lead a series of seven sessions that make up the brand new “UMS Night School.” The sessions are free and open to the public and take place at the Ann Arbor District Library (343 S. Fifth Ave.). The first session, on January 9 at 7 p.m., will be devoted to exploring the new staging of Phillip Glass’s rarely performed and revolutionary opera, Einstein on the Beach. In the subsequent sessions, Clague will lead a 30-minute discussion of the previous week’s presentation, followed by a 60-minute introduction to the next performance in the series. The “Renegade” performance series runs from January 20 to March 25 and “UMS Night School” sessions will be held on Monday nights. For more information, visit

University Dance Company Performs Lucinda Childs’s “Dance #1” The University Dance Company welcomes guest choreographer Lucinda Childs this winter for Dancelucent 2012, their annual modern dance celebration. The company will perform the twenty-minute first section of Childs’s “Dance,” featuring music by Philip Glass. Childs, one of the most celebrated choreographers of our time, created the piece after working with Glass and Robert Wilson on Einstein on the Beach, the groundbreaking opera that is being staged at UMS in January prior to a new world tour. In reviewing a production of “Dance” by Childs’s company in Los Angeles this past spring, The L.A. Times, wrote: “It is a magnificent work on all levels. And it now includes a new level—that of history.” The Dancelucent program will also include innovative works by faculty Bill DeYoung, Peter Sparling, and Robin Wilson. Dancelucent takes place February 2–5 at the Power Center.


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Once Upon a Dream Musical Theatre Grad Matthew Rego Teams Up with His Brother and Their Best Friend to Form the Araca Group By Betsy Goolian

arrived in Ann Arbor, from his hometown of Cleveland, to audition for the musical theatre program. A hazy memory all these years down the road, but Matthew’s sure he sang Luck Be a Lady. And there, watching intently, were Brent Wagner, program head, Tim Millett, choreographer, and Jerry DePuit, music director. “It was nerve wracking,” Matthew says now, “but I thought I had done well.” And indeed he was admitted to the program and did well, singing, acting, and dancing with the best of them. But as the semesters progressed, he found himself directing plays and launching, with fellow classmates, what they called Basement Arts, an organization that still exists to this day, in which shows are cast, promoted, rehearsed, and performed by students. “Matthew was always enterprising as a student,” says Wagner, “and had an entrepreneurial spirit. I wasn’t

quite sure where it was leading at the time, but I knew that this was the field for him.” As a student, Matthew actively sought faculty input. “I wasn’t taking directing classes,” he says, “so seeking out mentoring from key faculty members just made sense. Philip Kerr, Erik Fredricksen, Tim Millett, and Brent Wagner were all great sounding boards. They would come to rehearsals and be real observers; if you reached out and asked for their guidance and consultation, they were more than willing to do so.” While at Michigan, he directed a MUSKET production of Evita, a new play by Hopwood Award-winner Andrew Newberg called Kitchen Help, and a Basement Arts production of James McLure’s Lone Star. After graduation, Matthew moved to New York City to join older brother Michael who had gone through the musical theatre program at Syracuse. After short-term stints as interns here, production assistants there, the two decided further education might be the key. ABOVE: URINETOWN: THE MUSICAL

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Back in 1988, Matthew Rego (BFA ’92)

Michael went to New York Law School, Matthew to Fordham for an MBA.

experience and ability for us to go out and do what we wanted to do.”

But still, even with these higher degrees to their credit, the question remained: “Do we get jobs and start climbing the corporate ladder of the arts? Or do we go out on our own.”

“But I think—I hope—it was done from an altruistic place,” he says. “We wanted to do what was best for the show. It wasn’t serving any kind of ego. It wasn’t because I wanted to hire my sister to direct the show or cast my dad to play Cladwell. I felt like we really had to go out and find the best talent to support this thing and to give it life on Broadway.”

They did what their forefathers had done. Charlie Araca, their grandfather who immigrated to Cleveland from Sicily in the early 1900s, took the $300 he had won in a dice game and invested it in a food stand, with his brothers. That food stand became a grocery store and then a second grocery store. When Matthew’s father Anthony Rego (“Araca” had been dropped in the 1940s), came of age, he took over the family grocery business. He used the money he had inherited from his father—money he had been holding onto for years—and built more stores with his uncles.

They would end up keeping only Spencer Kayden, who played Little Sally in the Fringe Festival production. She went on to earn a Tony Award nomination. They brought in John Rando to direct. They cast John Cullum to play Caldwell B. Cladwell, the villainous lead. “John Cullum was a huge reason why this

There are risks, and then there are calculated risks. “If you were to ever really look at the show,” Matthew says, “it’s one of the best-written of all time. People look back at musical theatre history: what’s the best structure, the best music, best book, best lyrics? And of course you mention Guys and Dolls, you mention West Side Story. I would put Urinetown in that same breath.” Moving forward, however, came with an unpopular next step. They re-auditioned the entire show. In the process, they lost the director and choreographer. “They were all young and enthusiastic,” Matthew says, “but they were inexperienced. Our fear was that they just didn’t have the

Jennifer made a big impression. “She sang Julie Jordan’s song from Carousel and it just broke everyone’s hearts. Then Hunter came in and it was like, okay, this is our Bobby Strong. This is our leading man. He nailed it, he just nailed it. Everyone loved him.” The rest is show business history. Urinetown: The Musical was nominated for ten 2002 Tony Awards. And it came away with three: best director, best book, and best score. It was the only musical in the history of Broadway to win those three and not best musical. A little something called Thoroughly Modern Millie took that statuette instead. “I think people were nervous,” Matthew says. “But in some ways, not winning best musical was as big a boost to us as winning; it became our badge of honor. We ended up coining our own phrase: Urinetown the Broadway Triple Crown Award Winning Show.”

So the answer at the crossroads, lo those many years later, was perhaps preordained. Of course they would venture out on their own. They enlisted longtime childhood friend Hank Unger and two became three. Their first big break came in the form of an odd little musical with a funny name: Urinetown: The Musical. “It did seem like the unlikeliest of successes,” Matthew says. “Why would a show called Urinetown, that started at the Fringe Festival that no one had ever heard of before, be the thing we bet on?”

the team that they were my friends. They had to walk in and they had to earn this themselves.”


company of actors and group of creative talents worked so well together. Here was this two-time Tony Award-winning actor doing this show for us, off-Broadway, in a theatre that had one dressing room divided by a sheet—one side for the girls, one side for the guys. And he didn’t complain. Not once. It just made everyone get in line.” Hunter Foster (BFA ’92) was cast in the role of Bobby Strong, the show’s hero. Jennifer Laura Thompson (BFA ’91) played the villain’s daughter and love interest, Hope Cladwell. “It’s funny,” Matthew says. “The first person to audition for the show was Jennifer and the last person was Hunter. I didn’t tell anyone on

After Urinetown: The Musical came Frankie and Johnny in the Claire de Lune, with Edie Falco and Stanley Tucci, and, oh, yes, a musical called Wicked, which also launched the threesome into another realm. “We negotiated to do the merchandising and to do it globally, not knowing that Wicked would become one of the three most successful musicals in the world, along with Lion King and Phantom.” Now The Araca Group has ten Tony Awards and eight Drama Desk Awards in its plus column. Its merchandising arm employs 250 people worldwide. The producing arm continues full throttle, with, Matthew estimates, some six plays and seven musicals currently in development. “We’ve had our fair share of flops,” Matthew is the first to admit. “After those first four—Vagina Monologues, Urinetown, Frankie and Johnny, and Wicked—people thought we couldn’t lose. We had good taste, we worked hard, I’m not discounting that—but we were very fortunate too.”

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Alliance Takes a Much-Deserved Bow By Betsy Goolian

When the Tony

Awards ceremony was held in June, Sharon Jensen (BA ’69, MA ’71, theatre & drama) was there. She and the Alliance for Inclusion in the Arts, of which she is executive director, were presented with a 2011 Tony Honor for Excellence in the Theatre. “So much of our work is under the radar,” Jensen said after the ceremony. “That’s why we’re over the moon about this Tony. The best part is that it belongs to so many. This is such a collaborative field and its success is due to the thousands of artists of color and artists with disabilities in our SHARON JENSEN profession as well as the many decision-makers committed to a fully inclusive theatre, television, and film industry.” The work of the Alliance, whether it’s race, culture, ethnicity, or disability, is all about issues of exclusion or discrimination in the acting profession. “Rarely is it outright discrimination,” Jensen says, “but rather practices that have stayed in place for decades and haven’t been challenged.” Jensen has been at the helm for 22 of its 25 years. After finishing her master’s in theatre & drama at Michigan, she left for New York for a job, first as a casting assistant, then as a casting director with the Theatre Communications Group. She then worked as administrator, then executive director, for the League of Professional Theatre Training, a consortium of the major actor training programs in the country at that time.

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When the League closed its doors thirteen years later, Jensen was left to ponder her next move. Through a series of serendipitous twists and turns, she found herself taking the lead of what was then the Non- Traditional Casting Project, now the Alliance for Inclusion in the Arts. “To me, it was the perfect coming together of my non-profit background in the theatre with my core interests,” she says. “Having been a casting director has helped me; I understand actors, I have respect for the process.” One key impetus for the establishment of the Alliance was a four-year study by Actors Equity, released in 1986, that showed that of every professional production in the country, over 90% of the actors were white. “It was a huge wake-up

call to the industry,” Jensen says. “And if you discounted culturally specific productions like Dreamgirls, that number became much higher.” Catch 22? “Casting directors were saying actors of color aren’t coming in to audition for roles. Actors of color were saying why should we bother when we’re not being cast? At the same time casting directors wanted to consider hiring more actors of color, but were not familiar with a wide-ranging talent pool.” Enter the Alliance. The newly established office set to work assembling what would become the most extensive national talent bank, with photos and resumes of 3,500 actors of color. The Alliance also serves— and continues to serve—as a consultant, engaging, interacting, and working with the leaders and decision makers in the theatre, film, and television industries toward more inclusive standards, policies, and practices. Great strides were made. The office soon expanded into the area of disability, a seriously under-represented minority in American arts and entertainment. “We’ve done more in disability in recent years because the need is so huge,” Jensen says, “and because there have been opportunities to make a difference.”

experience of disability is; and for the audience, to see a portrayal of what the authentic experience of disability is. Now the Alliance has files of some 400 to 450 actors with disabilities and a disability advocate and disability associate on the staff. “So, say, if Law & Order calls,” Jensen says, “Christine or David find out the specifications for the role and refer actors who are a good fit. Then they call and say ‘how’s it going, do you need anything more, how did it work out?’” In a recent interview, an actor said, “There’s still the belief that a disabled actor will slow down the production and cost [it] money and that they will have to make all kinds of accommodations.” It’s really quite the opposite, Jensen says. “A lot of wrong assumptions are made. If someone is blind, for example, there’s a fear that he or she is going to fall off the stage. But they probably know it better than you or me. They’ve walked it. They make sure they know exactly where things are. I have a friend who uses a motorized chair—I couldn’t begin to keep up with her.”

Take the case of Daryl ‘Chill’ Mitchell, former rapper turned actor, who was, as he puts it, “briefly sidelined” by a motorcycle accident in 2001 that left him paralyzed from the waist down. Since then, he has appeared as a regular in the NBC series Ed and in Fox TV’s Brothers. “Daryl is an amazing guy,” says Jensen. “As he himself says about auditions, ‘just get me in the room and I’ll get the job.’ He shows that a person with a disability doesn’t have to be a sainted or tragic figure, but rather a complex, multi-dimensional—and very funny!—guy.” Even after 25 years, the work of the Alliance is not done. “Where people are now is not where they were five years ago, or ten years ago, or even twenty years ago,” Jensen says. “We’ve made progress, but there are still a lot of issues that need to be resolved. It’s important to us, on an artistic and human level, that we have an understanding of the full spectrum and dimension of our humanity,” Jensen says. “That means all of us. We’re all welcome at the table.”

“Historically, disability has been primarily written about by people who are not disabled and don’t have a lived experience of disability,” Jensen says. “It’s often an idealized or sentimental script. It’s usually about the cure: making the blind person see or the person in the wheelchair walk. People with disabilities have been seen as having limitations that can’t be gotten beyond.” “It’s still common for people who are non-disabled to play roles that are disability specific,” she says. But in so doing, the losses are threefold—for the disabled actor, who has the same training and background and has worked just as hard; for the ensemble, to be exposed to what the lived


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Where There’s a Will Dance Seniors Produce Their Own New York Showcase By Betsy Goolian

On a Friday and Saturday

evening in May, an enthusiastic crowd of dance alumni, faculty, and friends jostled their way into the Baryshnikov Arts Center in New York City. The occasion? The first ever U-M Senior Dance Showcase. Senior showcases are nothing new, but this one had its own distinctive twist. The seven members of the Department of Dance graduating class of 2011 conceived of and produced the entire event on their own. The idea began to take shape in their freshman year. It was 2008 and this freshman touring company had just finished a performance in Saginaw, one of the last stops on a tour. Someone shouted out, “Next stop, New York!” Well, why not? “We laughed about it,” says Francesca Nieves, “but during sophomore year, when we started having monthly class meetings, the idea began to gel. We knew the Department of Musical Theatre had its

own showcase every year. We decided we should do the same thing.” Those seven seniors are Nieves, Derek Crescenti, Logan McClendon, Allegra Romita, Tara Sheena, Emily Wanserski, and Sadie Yarrington. Once they had made up their minds to turn that dream into a reality, they got down to business. They put together a preliminary budget and a PowerPoint presentation for the dance faculty. Their professors gave them the green light, but with one caveat. “The faculty said, we’re so happy you guys are doing this, it’s great—but you’re on your own,” says Nieves. “And we were fine with that. We knew if there were too many cooks in the kitchen, it wasn’t going to be what we wanted it to be.” They did set up an advisory board: Angela Kane, dance department chair; dance faculty Peter Sparling and


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Christian Matjias; alumni Daniel Gwirtzman (BDA ’92) and Carolyn Dorfman (BFA ’77); and lighting designer and faculty member Mary Cole, who also came to New York with the group for the week leading up to the showcase. But for the most part, the advisory board’s role was just that—advisory. “It was more like we had this group of people who were there for us if we needed them,” Nieves says. “So any time we had a question, we would go to them. Mostly we just kept them informed about what we were doing.” Once they had departmental approval, they made an appointment to see the School’s dean, Christopher Kendall. They came to that appointment armed with much more detailed and comprehensive budgets. The dean was duly impressed. He approved the plan. Both the Department and School were able to commit funds toward the effort. The students spent sophomore and junior years organizing the event and raising additional funds from family, friends, projected ticket sales, and other sources. Some donations were gifts-in-kind: a local photographer took their publicity shots; Carolyn Dorfman paid for a New York reception; a family friend donated the wine; Daniel Gwirtzman, alumnus and artist-in-residence their freshman year, donated his artistic services. During the year leading up to the event, students worked hard on publicity. They designed and printed their own flyers, mailing them out to SMTD dance alumni in the New York area. They sent out personalized invitations to friends and family, giving extras to dance faculty to put the word out to their many colleagues and connections. They created their own Web site and put together a promotional video. Gwirtzman’s assignment was to create the showcase finale, setting a work on just the seven seniors. “Personality, grit, sophistication and risk-taking typify this tight-knit clan,” he says, “and I exploited these qualities in creating Wildfire, a challenging, go-for-broke dance.” Four of the seniors were able to travel to New York in February to start work with


Gwirtzman, who has his own company in the city. While there, they visited dance studios and dropped off promotional postcards. They also volunteered their services for outreach, lectures, and demonstrations at New York high schools and schools for the performing arts, distributing promotional materials at the same time. In April, the Department of Dance brought Gwirtzman to Ann Arbor, to teach classes but also to continue work with the seniors. The final rehearsals for Wildfire took place in New York in May. They named the showcase tHere: An Evening of Modern Dance. “The show was both about what we learned at the U-M from our professors but also about our trajectory from then to now,” Nieves says. As the big day approached, the “Senior Seven” were off to New York for the week leading up to the showcase. Student dancers from the department were brought in toward the end of the week to supplement the group works. Mary Cole was there as faculty advisory, but also to do light design. “We wanted this showcase to be interdisciplinary,” Nieves says. “Most of the music in the show was commissioned from composition students at the School. At the same time, we’re all very passionate about the department and so thankful for what the faculty has done for us,” she adds. “We wanted to promote the department beyond the Midwest. I’m from New York and I

think what goes on here is pretty amazing, but it’s not as well known there, and I’m sure it’s the same on the West Coast.” “We also wanted to create a footprint for future classes. At the same time, we gained the satisfaction of knowing that we produced a show in New York City, from Ann Arbor, with a $12,000 budget.” Gwirtzman clearly had a huge impact on this group when they were freshmen just starting out. It went both ways. “They created an indelible impression on me four years ago,” he says. “Two full capacity crowds cheered the burgeoning professionals at the Baryshnikov Arts Center as they presented this work and their own compositions with clarity of purpose, tremendous vitality, individual charisma, and a well of heartfelt joy. To witness one’s students achieve such high marks and to observe their own pride at their accomplishment is the best gift a teacher can receive.” “I cannot put into words how much I learned from this experience,” says Wanserski, “for there were so many layers to the project. On a professional level, I gained hands-on experience with programming, development, alumni relations, and networking. Then there was the artistic layer of learning, which in some ways seemed to be a culmination of my time in Ann Arbor. This project and the people involved truly shaped my four years at Michigan.”

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eventy-six members of the University of Michigan Symphony Band toured China in May 2011. So that those of us not on the tour could get a feel for the day-to-day, a China blog, or electronic diary, was created. From the moment auditions for the touring band got underway w in the fall, through the Cultural Lab sessions offered during winter semester, to se departure for China on May 7, to the final d concert in Los Angeles on May 29, 2011, co students and faculty shared their impresst sions of the experience as it unfolded. si These excerpts, tell the story. Edited by Betsy Goolian Visit to see all blog entries.

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Fall 2010 by Stephanie Elder, senior, clarinet “Thank you—two short, simple words, signifying the end and the beginning: the end of a months-weeks-even-years-long preparation process; the beginning of a short wait for results that feels like eternity; maybe the beginning of a life-changing experience. Five minutes or less to play your best and prove yourself—just you, your instrument, a friendly proctor, a stage, a stand, a screen, and several sets of familiar ears, just out of sight. Just like every other ensemble audition, yet somehow completely different.…And then the excitement of receiving one of the most anticipated emails ever, containing an even shorter phrase, ‘Congratulations.’”


PRE-TRIP PERFORMANCE February 2011 by Professor Mark Clague, associate professor of musicology and tour archivist “With the woodwind flourishes of George Gershwin’s Cuban Overture, the U-M Symphony Band launched its journey to China. After world premieres of music by U-M composers Michael

Daugherty (Lost Vegas) and William Bolcom (Concerto Grosso for symphony band and saxophone quartet), the air in Ann Arbor’s Hill Auditorium was electric. The musicians’ intensity of focus was palpable and seemed a response to the special importance of the event. I can’t wait to see how our Chinese hosts respond to the virtuosity, power, and musicianship of the 2011 U-M Symphony Band. It will truly serve to honor the fiftieth anniversary of the band’s trip to Russia and the Middle East under the baton of the legendary William D. Revelli.”

DEPARTURE DAY APPROACHES . . . May 2011 by Carrie Rexroat, sophomore, French horn “Ok everyone, here it is: how to pack for a trip to China! I know, you’re probably thinking that you have it all under control and you’re not worried about going over the 44-lb-weight limit for our suitcases. In fact, you’ve probably not really thought about what to pack yet. Trust me, though, after reading what I’m about to tell you, you’ll think differently on the subject, and you’ll want to get a head start on planning ahead.”

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HA FROM CHINA... May 11, 2011 by Professor Mark Clague “’On fire!’ is the phrase the faculty were sharing about tonight’s standing-room-only Symphony Band performance at Zhejiang University. The audience demanded not one, but four encores! We gave the Asian premieres of two works by U-M composers and the Symphony Band outdid itself. I have never been so proud of Michael Haithcock and our students—they were fantastic! Truly a remarkable evening for a crowd of around 1,400 listeners who grew to love the band more with every piece.” May 11, 2011 by Lori Roy, master’s French horn “I love exploring cities by running. I’ve only been able to run twice while we’ve been in China, both times in Hangzhou, but it was fantastic. I sleepily laced up my shoes at 6:00 a.m. and moseyed across the lobby, greeted both times by Professor Haithcock, who apparently doesn’t sleep. Hangzhou in the morning is a dream out of Chinese folklore. I was able to flit around groups of fan dancers, breeze by the meditative tai chi groups, and sync my footsteps with the resounding slaps of little old Chinese men doing some sort of calisthenic exercise that involves beating one’s thighs. I’m sure I looked as strange to the Chinese exercisers as they did to me. I was the only Caucasian along the Grand Canal, one of the few runners, and remarkably, among all the people exercising, I think I was the only one sweating. The Chinese exercise regime, overall, seems less intense than ours, and is perhaps as much about the state of the mind as the state of the body.”

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May 13–16, 2011 by Professor Jeffrey Lyman, bassoon “From the ancient city of Hangzhou to the modern metropolis of Shanghai, our tour has rocketed into the future with a rapid ride on a bullet train, but the music continues. Yesterday, our four winds and percussion faculty on tour—William Campbell, trumpet; Joseph Gramley, percussion; David Jackson, trombone; and yours truly— traveled to the Shanghai Conservatory of Music for a brief concert. t. We were met by an amazingly gracious, friendly, and enthusiastic c audience of students and faculty.…After the concert, we followed our ur Shanghai Conservatory colleagues to our individual master classes. s. The conservatory students proved to be excellent players, eager to o perform for us, and their faculty acted both as hosts and translators. s. …As anyone could have guessed, the class eventually turned to the e topic of reeds and cane, proving that no matter what the country, no o matter what the culture, all that really matters in the end is whether er or not you’ve got a good reed.” May 13–16, 2011 by Alex Young, master’s trumpet “The Celebrities. Almost everywhere we go, we become the focus of attention as many other Chinese tourists hop in for pictures with h Americans. Just yesterday, at the Bund in Shanghai, Professor or Jackson, our statuesque African-American trombone professor, got ot bombarded with pictures to the point where a police officer had to o tell our guide it was time for us to leave. They yell ‘OBAMA!’ at us. The e concert … what an experience! The crowd loved us so much we had d to call for extra encore music from the stage. They are such an appreeciative audience and we were all honored to play for them. It makes es us feel like what we’re doing actually matters.” May 13–16, 2011 by Professor Mark Clague “Musicology Hits it Big in China! The Shanghai Grand Theater is s actually an arts complex with three different venues: the main n theater which holds about 1,600 and hosts all the world’s great at ensembles, a 600-seat drama theater, and a small recital hall that at holds something like 200. My talk was in the drama theater, and, d, indeed, over 500 tickets had been given away. Attendees included d students and retirees and a few families; most in the audience underrstood some English, but our tour translator, Lydia Qiu, came with me e to translate the talk. She was fantastic and made everything very ry easy for me. She did so well, in fact, that the audience even laughed d at a few of my jokes!!!”


May 13–16, 2011 by Charlie Mann, junior, tuba “Two blocks away from our hotel and a block away from our perforrmance venue is a public square; all of the University students in Xi’an n told me to visit it and now I know why. At first, I thought it was a mall, l, as we know it, and thought ‘let’s go shopping at 2:30 in the morning!’ g!’ Wrong. There are pillars with colorful flashing light shows synchronized to techno music. The fountains give off a brilliant show every fifteen minutes. Every surrounding building is illuminated with lights that look like rain dripping from the rooftops. There must be fifty

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unique statues of soldiers and horses in the center. And we could not even see the beautiful park adjacent to it at night. Our responses were all the same. ‘This is China? It looks like Vegas!’”

SHENYANG May 19–20, 2011 by Sam Livingston, senior, percussion “The concerts in Shenyang were fun. We gave concerts at two universities, Liaoning and Shenyang Normal. These institutions have some of the strongest ties to Michigan in China. The president of Liaoning University is a Michigan graduate and has a lot of pride. L We played The Victors as an encore, by his request. The concert at W Shenyang S Normal was in an arena where a high-tech stage had been b installed for the institution’s 60th anniversary. Our concert was w the kick-off event for the celebration and all 4,000 seats were filled. It was mainly students in the audience, and they were noisier than th we were used to. As one of the Shenyang Conservatory faculty told to us, most touring groups want to go to Beijing and Shanghai, but b rarely want to make a stop at cities like Shenyang. We were defi d nitely treated more like rock stars here, with hoards of volunteers te helping out and welcoming us at every turn. The universities went w to great length to treat us well. After the Liaoning concert, the university u threw us a banquet with singing, dancing, traditional Chinese C music, and juggling by students.”


M 22–24, 2011 by Professor Mark Clague May “Performing at “The Egg”—China’s National Grand Theatre, other“P wise known as the National Centre for the Performing Arts—proved w inspiring. It’s a coup for us to be here at all, but U-M’s alumni in network in China again proved vital. Maestro Zuohuang Chen, n music director of the Center’s own orchestra and a U-M alumnus, m was key to getting us our 10:30 a.m. Sunday morning slot. It’s a w strange time for a concert, but well worth it to play in this exciting st venue! … The band sounds FANTASTIC in the hall: gigantic, rich, ve and warm. A tour like this makes the impact of acoustics on the band’s sound crystal clear. The band always sounds good—due to Michael Haithcock’s own clear and consistent sound concept—but its overall color changes nevertheless. The band can be woodwind dominated (as at Liaoning), brass dominated (as in Xi’an), or even percussion dominant (as at the Shanghai Grand).”

May 22–24, 2011 by Sam Livingston “The next day brought a visit to Hanban, the Chinese government agency responsible for promoting Chinese language and culture and the headquarters of the Confucius Institutes around the world. This tour is the first such project supported by Hanban and a new way for the organization to promote cultural exchange. We visited exhibits at their offices and participated in a formal event presented by the staff. Our saxophone quartet and brass quintet shared some chamber music and the Hanban staff sang a song for us. They made it clear that the tour had been as much of a success for them as it has been for us. This visit was pretty moving and a great reminder of what an honor and unprecedented opportunity this tour has been.”

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May 29 29, 9, 2 2011 011 by y Professor Professo ss r M sso Mark a Clague “After “Af A ter 22 da days ays and 10 0c co concerts, once few would have been surprised if our fin fi nal n al Sym al Sympho Symphony pho hony B Band an China tour concert had been something of a let down. Yet, if anything, the musicians saved their best for last. The imposing beauty and post-modern fantasy of Walt Disney Concert Hall in Los Angeles more than overcame any sense of fatigue, physical or spiritual. It is an amazing venue in which to perform, visually inspiring and acoustically satisfying. Most exciting, the hall was allbut-full with friends and supporters from the University of Michigan family. University president Mary Sue Coleman made the trip and presided over an alumni dinner and post-concert reception. All four of the U-M composers commissioned for the tour—Bill Bolcom, Michael Daugherty, Kristy Kuster, and Bright Sheng—were there, as were many deans, faculty, and students from our School of Music, Theatre & Dance. It was a great homecoming and a fantastic way to bring the tour to a close.” “As Professor Haithcock left the stage, the audience rose yet again and the musicians shook hands like they had done with increasing frequency for our concerts in China. Yet, handshakes soon turned to hugs and smiles into tears as the reality of the final notes of the tour hit home. It had been a fantastic cultural, social, and musical journey that not only expanded our perspectives on the world around us, but deepened our friendships at home. I know that fifty years from now, when the Symphony Band makes another (probably interplanetary) tour, that our 2011 alumni will look back to this moment as one that shaped their lives in countless ways.”

POST-SCRIPT August, 2011 by Christopher Kendall, Dean, School of Music, Theatre & Dance “Speaking from the standpoint of a devoted fan and follower of the tour, I can’t say enough about the performances, on stage and off, of our Symphony Band members. The concerts were consistently brilliant, living up to the observation, made by many, that this ensemble represents the top of the form. In a wide and very demanding repertoire, the color, the precision, the balance, the intonation, the tone

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and articulation, and, above all, the musicians’ ability to inhabit the character of each work, were all incredible. Between concerts, the cultural curiosity, collegiality, the collective mutual care among the members, the responsibility for the standards of the ensemble and institution, and the warmth and connection with the Chinese audiences, presenters, and students were all reason for tremendous pride in our Band members.” August, 2011 by Dan Graser, DMA, saxophone and member of the Donald Sinta Saxophone Quartet “In a particularly impromptu interview given during our preparations for this trip, I mentioned that the main thing I was looking for from this tour was, “the goose-bump-effect.” That is, that wonderful physical reaction when your mental and emotional faculties are overrun with a particularly powerful moment or experience in music. I can say now that the tour is finished and the processing has begun in my mind, that I got what I was looking for.” August, 2011 by Professor Michael Haithcock “We presented eleven concerts between May 5 and May 29. While aspects of individual concerts stand out, my most powerful memory of the performances was the consistency of their quality. We played in some wonderful halls, but we also performed in places that presented extremely difficult acoustical demands. We played before some wildly enthusiastic audiences but we also dealt with some behavior in concerts unlike anything we had ever experienced. No matter the circumstances, the students rose to the specific occasion and worked hard to connect with the audience while presenting the music with great integrity. For a teacher, there is no greater reward! However, there might be one that comes close. I got to know the members of the Symphony Band in ways I am not privy to during normal circumstances since I am not on Facebook. While I was gleeful in observing their antics during bus rides, I remain moved beyond words by their care for and concern for each other. These are not just great musicians, these are great people! I was not surprised, but the power of their integrity, their compassion, and their ability to remain positive no matter the circumstance remains truly inspiring. Families and friends should be very proud!!”

“The ‘Made at Michigan’ recording project is now in full swing. The title is derived from the typical manufacturing labels ‘Made in China’ or ‘Made in Michigan.’ The repertoire was composed for the Symphony Band’s China Tour: William Bolcom’s Concerto Grosso for Saxophone Quartet, Michael Daugherty’s Lost Vegas, Kristin Kuster’s Two Jades, and Bright Sheng’s Shanghai Overture, plus Shadow of Sirius by SMTD alumnus Joel Puckett, a work composed to showcase flute professor Amy Porter, and an arrangement, by Bolcom, of his famous piano work Graceful Ghost Rag. This two-CD set will feature brief interviews with each composer, all of whom will be present for the recording sessions and will interact with the Symphony Band during the rehearsal process. The results will document the experience for current members of the band and serve as a primary resource for generations to come who will have access to the composers’ intentions and input through this document.” —Professor Michael Haithcock, U-M Director of Bands and conductor, U-M Symphony Band

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Photos by Dwight Cendrowski Photography

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To drive national momentum to develop better ways to integrate art-making and the arts into the research university.


hat was the stated purpose behind a national conference held in early May in Ann Arbor. The theme of the conference: “The Role of Arts-Making in the Research University.” The heart of the conference: three days of addresses by distinguished speakers, lively discussions, workshops, and hands-on creative activities. As participants—some 200 strong, comprising provosts, deans, directors, faculty, administrators, and graduate students from universities around the country—filed into Rackham Auditorium that Wednesday evening of the three days, the conference was launched in true style. The Gratitude Steel Band filled the hall with the sounds of island music, the assembled musicians dressed in black, yellow, and green Hawaiian shirts. Behind them, a video ran silently, looping through screen images of the arts in action, with potent verbs appearing, then fading: coalesce, expand, exhale, resonate, percolate, gravitate. Theresa Reid, conference organizer and executive director of ArtsEngine, the campus initiative that proposed the overarching theme to the Rackham Graduate School, said, “Lots of top-tier universities are re-examining their commitment to the arts, and the primary reason is the worldwide demand for creativity. In a global economy, a key differentiator for businesses and for national economies is creativity and the innovations that result from it. That’s one major reason that places like Harvard, Princeton, Stanford, and other elite universities are lately turning increasingly to the arts.” Janet Weiss, dean of the Rackham School, opened the proceedings. These Michigan Meetings, she explained, were established “to bring together colleagues and members of the engaged public on topics of broad interest for thoughtful engagement.” Those drawn to this particular conference, Weiss said, had a “shared sense of jeopardy” about the future of the arts.

The North Campus deans, founders of ArtsEngine, took the podium in turn: Monica Ponce de Leon from architecture and urban planning, David Munson from engineering, Bryan Rogers from art and design, and Christopher Kendall from music, theatre and dance. Said Kendall, “Michigan is home to highly regarded, degreegranting professional programs in virtually all branches of the arts and performing arts. So with this wealth of arts assets, what, after all, is the problem that inspired this meeting?” The challenge, as he sees it, is getting contemporary research universities to recognize art-making as an intellectually legitimate form of inquiry, knowledge-production, and discovery. “By ‘art-making’ we mean original creative production in all forms of art,” said Dr. Reid, “as well as re-creation through performance. The arts are the product of art-making. Engaging with the arts—in museums, exhibitions, screenings, live performances—is a vital part of our culture and of the university experience. But art-making is different: it’s the extremely difficult, worrying, rigorous, error-filled process of discovery through original creative expression.” Shirley Tilghman, president of Princeton and conference keynote speaker, said we need to convince the doubters that “what occurs in our studios and on our stages is as central to our mission as what takes place in our lecture halls and laboratories.” Princeton is at the forefront of “moving the arts from the margins to the center of the undergraduate experience,” having just opened a new center for the creative and performing arts. “If the arts are perceived as the purview of a well-to-do elite,” Tilghman said, with funding slashed at the local, state, and federal level, “the general public will grow increasingly indifferent to them.” Universities need to become “artistic crucibles” by making sure today’s students become tomorrow’s patrons of the

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arts; by providing a forum where artists can pursue their passions in a safe environment; and by providing access to the arts to the general public, thus enriching the cultural life of their communities.

Students from seven different fields and colleges participated in a charrette on the future impact of social media on business. Students came away with a new understanding: “everyone’s an expert on something.”

The following morning, the hub of activity moved to the Michigan Union. Presentations were interspersed with break-out sessions. As conference participants returned to the main ballroom from those sessions, the air was alive with conversation, charged with the buzz of excitement, energy, and ideas. “We’re having fun, aren’t we?” said Reid from the podium.

Then Cantor came to what she called the “hard stuff:” integrating the arts and arts-making into our curriculums in a way that challenges the normal practices of our institutions, disrupting the status quo, upending routines. But then, what do arts and arts making do? They disrupt.

The featured speaker for day two was Don Randel, president of the Andrew W. Mellon Foundation. His talk referenced a famous speech by celebrated novelist C. P. Snow, from 1959, addressed to the faculty at Cambridge in the annual Rede Lecture, in which Snow posited that the sciences and the arts were becoming two cultures. Universities have addressed this gap through distribution requirements that expose the one culture to the other, but that exposure is often superficial, with courses that look good on a resume or make people better at cocktail party conversation. “How do we ensure that the arts are a crucial part of the intellectual fabric of the institution?” Randel asked. We need to “think about what the intellectual fabric of the institution ought properly to be and indeed what we are attempting to bring about in the lives of the students and anyone else who comes here. This entails, in turn, thinking about what the university truly stands for and the means by which it demonstrates what it stands for.” Randel stressed the importance of reflection, curiosity, and imagination to the life of the mind, saying that there is really only one culture and it’s all of a piece. He sees active, sustained collaboration as the best way to demonstrate that both cultures are one in spirit. Physics should not be just for physics majors; music should not be only for music majors. “The best humanists and artists and scientists do what they do because they cannot help it,” Randel said. “Of course some of what they do has practical consequences that are valuable to society in practical and economic terms. But even those practical consequences are often born of the passionate exercise of curiosity, imagination, and reflection for their own sake.” [Randel’s speech and all the other featured talks are available at] Former University of Michigan Provost Nancy Cantor, now chancellor at Syracuse University, was the keynote speaker on Friday, the final day of the conference. She described the three models universities typically draw on: the stand-alone model, a school or college dedicated to the arts and arts-making; the model where the arts and arts-making are embedded into schools, colleges, and departments whose central focus is not on the arts and art-making per se; and organizations “that serve everyone but are owned by no one,” such as museums, libraries, galleries, theaters, musical societies. “We want to encourage a blending or interplay among them and move from one-shot projects to models that can be sustained,” Cantor said. She gave several examples of work being done at Syracuse University, including one that lasted just three days. 22 Michigan Muse

She suggested that generosity is key; giving over control to the project in recognition that the sum is greater than individual interests. It is by nature a strongly democratic and inclusive form of engagement. Boundaries start blurring; we have to relinquish disciplinary supremacy. It strains our standard definitions. What we need are more interdisciplinary appointments and the deeper engagement of professionals working side by side with more traditional academics. “How do we support this kind of work to scale, with some durability or longevity, and maximal impact? How much disruption occurs to our normal practices, silos, career recipes, distinct roles, and all those aspects that we cling to that make us

The best humanists and artists and scientists do what they do because they cannot help it. —DON RANDEL

who we are?” Universities need to make commitments to funding, appointments, space, partnerships. Collaborative curriculum may begin with a single course. A key challenge, she said, is how we ensure that these collaborations have a shelf life long enough to engage beyond their initial offerings. At the end of the conference, representatives from the break-out groups reported on their findings and made recommendations. Those can be found at “The [North Campus] deans have been working together with imagination and gusto to accelerate the creative output of the Michigan community and to deepen our collective involvement in the arts throughout the University,” Weiss said at the opening session. That imagination and gusto were the forces that launched this investigation. Participants went away newly invigorated, charged with a common mission and a solid start on one of the conference’s stated goals: to initiate a national effort to make a sophisticated case for integrating art-making and the arts into the research university.

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|| faculty notes |

STEVEN BALL (carillon) has recorded the first quarter of the complete organ works of René Louis Becker on the composer’s original instrument at Detroit’s Blessed Sacrament Cathedral, where Ball holds Beck’s former position as Cathedral Organist. On behalf of the SMTD, he recently presented a talk on the first-ever class in bell founding and tuning at the Ravinia Festival in Chicago and, in Bloomfield Hills, MI, at the joint meeting of the World Carillon Federation and the Guild of Carillonneurs in North America. The latter was held as part of the 75th anniversary of the Baird Carillon and U-M as the nation’s oldest and largest school for the study of the carillon and campanology.

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ANDREW BISHOP (jazz & improvisation studies) recently performed at multiple venues in New York with Gerald Cleaver’s Uncle June. His trio Bishop/ Cleaver/Flood performed in New York and Ann Arbor and was the ensemble-in-residence at the Wichita Jazz Festival. He also performed as a member of the Hot Club of Detroit at the College of Wooster in Wooster, Ohio; Nighttown in Cleveland; Dazzle in Denver; the San Francisco Django Festival; the Aspen Jazz Festival; and Canada’s Oakville Jazz Festival. He was featured with Chris Lightcap’s Big Mouth in NYC and with Lucian Ban’s Enesco (Re)Imagined in Chicago. Bishop was the director of the first Mpulse Jazz Program and

gave master classes at the University of Wisconsin, Madison and the Escola Superior de Música e Artes do Espectáculo in Porto, Portugal, where he also performed in the Porto Jazz Festival. WILLIAM BOLCOM (composition emeritus) and Joan Morris recently performed at the Curtis Institute in Philadelphia, the Metropolitan Museum of Art in New York, Mohawk Trail Concerts in Massachusetts (where they’ve performed annually since the late 1970s), Midtown Jazz at Midday series at St. Peter’s Church in New York, and several venues in and around Ann Arbor. In October, Bolcom was inducted into the American Classical Music Hall of

Fame. This fall two of his operas were performed: A View from the Bridge at Indiana University and A Wedding at Oberlin College. CHAD BURROW (clarinet) spent the summer teaching master classes, adjudicating an International Clarinet Quartet Competition, and playing recitals at the fourth International Clarinet Festival in Taipei, Taiwan. In addition, he taught and performed as a guest professor at the Thy Chamber Music Festival in Denmark, directed the clarinet institute for MPulse and performed a featured recital at the International Clarinet Association’s Clarinet Fest in Los Angeles. The fall has




brought recitals and master classes at the University of Colorado, the University of Akron, and Oakland University; performances at Francis Marion University and Michigan State University; and performances with the Brightmusic Society of Oklahoma and Peak Performances in Denver, CO. CHRISTI-ANNE CASTRO (musicology) authored a book, Musical Renderings of the Philippine Nation, published by Oxford University Press. A book launch at the University of the Philippines in Manila coincided with an international conference, “The Impact of Music in Shaping Southeast Asian Societies,” where Castro delivered a paper on music of the Philippine-American War thanks to a grant from the Center for Southeast Asian Studies. Copies of the book were donated to the school’s musicology graduate students, who otherwise couldn’t have afforded it, through a grant from the Center for World Performance Studies. Castro also served on the program committee for the national Society for Ethnomusicology conference and has been named to the editorial board of the journal Asian Music. AMY CHAVASSE (dance) and her dance company, Chavasse Dance & Performance, presented the Ann Arbor premiere of Hunger for the Longing (a biased history of seduction) at the Duderstadt Video Studio on


November 11–12. In July 2011, the company traveled to Italy for a residency and performances at Teatro Saschall in Florence and Teatro Traetta in Bitonto in the region of Puglia. Chavasse was joined by musician/ composers and U-M professors Stephen Rush and Jeremy Edwards, and a group of New York-based dance artists, including several U-M dance alumni. This project is supported by a 2009 OVPR grant from U-M and Teatro Publicco Pugliese for the Italian prima assoluta. TIMOTHY CHEEK (voice) was a guest vocal coach at Opera Nuova, Edmonton, Canada, where he helped prepare



Rusalka in Czech. He taught and performed at the Summit Art Song Festival in Fort Wayne, IN, and worked at the University of Notre Dame’s Summer Scholars program for high-school voice students. He spent August in the Czech Republic researching his next book on Rusalka and finishing his piano/voice transcription of a recently discovered orchestral song by Vít zslava Kaprálová. Cheek returned to Prague in October to perform with singer Stephen Morscheck (MM ’85, DMA ’89) for many dignitaries, including Madeleine Albright, Czech president Václav Klaus, and his predecessor Václav Havel. The event celebrated U.S.–Czech relations and the rededication of

the newly renamed (Woodrow) Wilson Train Station. COLLEEN CONWAY (music education) has recently been appointed editor-in-chief of the journal Arts Education Policy Review. Presentations this fall included two papers for the Society for Music Teacher Education in September, a guest lecture at Temple University in Philadelphia in October, and a residency at Christopher Newport University in Newport Beach, VA, in November. Conway will be the keynote research session presenter for the Ohio Music Educators in February. She has served on the planning committee for the Michigan Music Conference this year as well as on the editorial board of the Journal of Music Teacher Education. KATE FITZPATRICK (music education) has recently published an article on urban music teaching in the Journal of Research in Music Education and had an article on cultural diversity accepted for publication in Music Educators Journal. This fall, Fitzpatrick presented a paper entitled “Blogging Through the Music Student Teaching Experience” at the Society for Music Teacher Education conference in Greensboro, NC. This winter, in addition to continuing her work on her Oxford University Press book on urban music teaching and working as a clinician/ conductor/adjudicator with area band programs, she will serve

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Meet Our New Faculty



KWASI AMPENE comes to U-M with a joint appointment in LSA and the SMTD in winds and percussion. He received a general diploma of music from the University of Ghana-Legon, a master’s in music theory from West Virginia University, and a Ph.D. in ethnomusicology from the University of Pittsburgh. His dissertation focused on processes whereby nnwonkoro songs, initially informally sung by women, have been transformed within Akan society and are now being sung by men as well as women in concert halls and in recorded performances. His book Female Song Tradition and the Akan of Ghana: The Creative Process in Nnwonkoro grew out of that work. He has actively pursued a multi-faceted career as a scholar of Akan song and court music, as a teacher, and as a highlife performance artist. His research interests include the compositional conventions and theories in oral cultures with emphasis on the Akan of Ghana, metaphor, and the theory of embodied cognition; the intersection of phonology, oral composition, and performance; music and social change; and popular music. As a teacher, Ampene most recently held the position of associate professor of ethnomusicology at the University of ColoradoBoulder, College of Music, where he was the director of their Summer Program in Ghana since 2002 and the director of that university’s West African Highlife Ensemble and outreach program since 2000. PATRICIA HALL joins us this fall as professor of music and chair of the Department of Music Theory. Dr. Hall received her BA in psychology from the

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University of California, Berkeley in 1976, an MA in music theory from Columbia University in 1980, and a Ph.D. in music theory from Yale University in 1989. An internationally recognized scholar, Hall continues a line of scholarly inquiry she has been following for three decades, Alban Berg’s sketches for Wozzeck. She has developed a unique familiarity with the subject, with a book scheduled for publication by the Oxford University Press. Berg is not Hall’s only scholarly interest; she has done serious work on film music and she gave a paper at last year’s meeting of the American Musicological Society on Leni Riefenstahl’s 1938 propaganda film Olympia. An article is scheduled to appear in The Oxford Handbook of Music Censorship in 2012 in the Music and Politics electronic journal, the editorship of which will continue at Michigan. Hall has served as a teaching assistant at Columbia University, an acting instructor at Yale, and an instructor at Mills College. She has served as the head of the theory division at the University of California, Santa Barbara, for some 20 years.

SILE O’MODHRAIN (pronounced

Sheila O’Moran) joins us as associate professor in Performing Arts Technology. She earned a BA in music and a licentiate in piano teaching from Trinity College in Dublin, Ireland. She holds an MS in music technology from the University of York in England, and a Ph.D. in computer-based music theory from Stanford University and received a postgraduate certificate in higher education and training from Queen’s University in Belfast, Ireland.


O’Modhrain has worked as a researcher and faculty member at the prestigious MIT Media Lab, Media Lab Europe, and currently holds the title of senior lecturer (the equivalent of a tenured associate professor) and research director of the Sonic Arts Research Center at Queen’s University of Belfast. She has worked for the BBC as an audio engineer and studio manager. Her research focus is on haptics—touch and gesture—and its relationship to music performance and the development of new interfaces for technology-enhanced instruments that extend the boundaries of musical expression. Also impressive is her combination of experience in many areas related to audio, psychoacoustics, computer music, cognition, and gestural control of music. She is internationally known and respected in her field, as evidenced by her record of scholarly accomplishment in well-regarded journals and as a frequent speaker at international conferences.

JONATHAN OVALLE joins the Department of Winds and Percussion as assistant professor. A graduate of the School of Music, Theatre & Dance, he holds both the BM and MM in percussion performance, working with Michael Udow, Julie Spencer, Michael Gould, Gerald Cleaver, and Salvatore Rabbio, as well as additional studies with Ted Piltzecker. A percussionist and composer and arranger, Ovalle has been the director of Percussion Studies at the University of Toledo and a member of its jazz faculty quintet, and has served as the director of the Percussion Ensemble and the Latin Jazz Ensemble.



Recent compositions include Epic Proportions, commissioned by Texas A&M and premiered at the Percussion Arts Society’s 2010 international convention in Indianapolis. The Spring High School Jazz Ensemble (TX) premiered his new jazz ensemble composition Bluesin’ Altitude at the 2010 Midwest Clinic in Chicago. As a drum set/jazz artist, Ovalle has shared the stage with jazz luminaries at the Detroit International Jazz Festival, Lansing Jazz Festival, Jazzloop, and the Art Tatum Jazz and Heritage Festival. He collaborated with drummer/composer Roland Vazquez as a vibist and congureo on his Music for 3 Jazz Players and Percussion Quartet. His performing career includes stints as a concert percussionist and chamber musician.


assistant professor of performing arts technology, was a lecturer at the Sonic Arts Research Centre at Queen’s University Belfast in the Performative Interactions research group, which explores new aesthetic possibilities that can emerge in performance with interactive systems. His research is framed through the interdisciplinary lens of interaction design, using quantitative, qualitative, ethnographic, and practice-based methods. Gurevich received a BM with honors in computer applications in music at McGill University in Montréal. He earned a Ph.D. and master’s in computer-based music theory and acoustics from Stanford University, where he worked at the Center for Computer Research in Music and Acoustics and completed a post doc. He spent two years as a research scientist at


the Institute for Infocomm Research, one of Singapore’s leading R&D institutions. His Ph.D. focused on computational acoustic modeling of whale and dolphin vocalizations, but concurrent and subsequent research has been primarily in the area of interaction design in creative and performative contexts. Along with research in interactive music, Gurevich co-directed QUBe, an ensemble for experimental and improvised music with acoustic and electronic instruments. He is also active as a composer of interactive, fixed media, acoustic, and game pieces, and a designer of installations and interactive devices.

England, Portugal, and Italy. He was one of three featured conductors for Singapore’s Inaugural World Youth Choir Festival. As a singer, Rogers has performed with the World Youth Choir, The Portland Symphonic Choir, The Saint Paul Chamber Orchestra Chorale, and the May Festival Chorus in Cincinnati. Last summer, he traveled and studied the choral traditions of East Africa (Tanzania) and recently published three editions of Tanzanian Choral Music under the Hal Leonard World Music Series.

EUGENE ROGERS received his DMA and master’s degrees from the University of Michigan and his BS in music education from the University of Illinois at Urbana-Champaign. Rogers was the director of Choral Activities at Macalester College in St. Paul, MN, where he conducted the Macalester Concert Choir, the Highland Camerata, and Festival Chorale. He is a passionate conductor and teacher whose spirited performances include a wide variety of musical styles and genres. He has extensive experience working with choirs of all ages and levels of ability. Rogers was named “most influential educator” two years running for his teaching and groundbreaking achievements as founder and director of Waubonsie Valley (IL) High School’s first multi-cultural ensemble, the Unity Chorus. Rogers has appeared as guest conductor, adjudicator, and lecturer in over fifteen states, as well as Canada, Singapore,

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as chair-elect for the Social Sciences special research interest group at the biennial conference of the National Association for Music Education. JOAN RAEBURN HOLLAND (harp) was a featured speaker and master class clinician at the American String Teacher’s Association (ASTA) convention in Kansas City, MO, last spring. She gave a class and a master class on audition preparation at the American Harp Society Institute in Denton, TX, in June. In May and August, Holland performed as soloist with the Debussy Dances, with the Great Lakes Chamber Orchestra, and with the Lexington Bach Festival Orchestra in September. In October, she was the featured soloist with the Interlochen Arts Academy Orchestra performing Rodrigo’s harp arrangement of Concerto de Aranjuez.


MICHAEL HOPKINS (music education) authored a feature article in the August 2011 American String Teacher journal. He presented at the Leading Music Education conference in Ontario, Canada, and the Society for Music Teacher Education conference in North Carolina. He was a clinician at the Birch Bay String Workshop in Ferndale, WA, and the Grosse Pointe Schools Summer Music Festival. Hopkins organized the September Bass Bash festival for middle- and high-school students with Professors Diana Gannett and Robert Hurst. He was recently appointed as youth orchestra director for the Ann Arbor School for the Performing Arts. FRITZ KAENZIG (tuba) continues to perform frequently with the Los Angeles Philharmonic, most recently for


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concerts this fall with dynamic new music director Gustavo Dudamel in Los Angeles and San Francisco in which Kaenzig played second tuba on Berlioz’s Symphonie Fantastique. He also collaborated with his former student, Carol Jantsch, as second tubist with the Philadelphia Orchestra on their final concert of the season last May. JAMES KIBBIE (organ) joined colleagues from U-M and the Ann Arbor Chapter of the American Guild of Organists in conducting a weeklong Pipe Organ Encounter for high-school organists at U-M in June. His recent performances included an all-Bach recital for the Ann Arbor Summer Festival in July and a performance for First Methodist Church in Ann Arbor in November. As curator of the Frieze Memorial Organ in Hill


Auditorium, Kibbie is collaborating with University Organ Technician Jerroll Adams to plan and conduct an extensive mechanical restoration of the organ. NANCY AMBROSE KING (oboe) performed recitals in Seoul, Korea, and Beijing, China, and presented master classes at the Seoul Conservatory, Seoul National University, and at Beijing Central Conservatory, where she was a featured guest artist at the Beijing International Oboe Festival. She recorded four concerti with the Prague Chamber Orchestra, as well as performed and taught at the Sarasota Music Festival, the Puerto Rico Oboe Festival, and U-M’s Mpulse Oboe Institute. Other performances include the premiere of Stacey J. Berk’s “Flight” for solo oboe and wind ensemble at the University of




Wisconsin-Steven’s Point, a concerto appearance with the Livonia Symphony and recitals at Brigham Young University and Arkansas State University. CHRISTOPHER JAMES LEES (conducting) was awarded the 2011 James Conlon Conducting Prize by the Aspen Music Festival and School after participating in the American Academy of Conducting at Aspen this past summer. This award carries with it an immediate re-invitation to the Festival next summer. This year, Lees debuts with the Portland Symphony Orchestra and will spend several weeks in 2012 as assistant/cover conductor for the Atlanta Symphony Orchestra. MARK MADAMA (musical theatre) spent the summer of 2011 in his 23rd season as a resident director of the Music Theatre of Wichita. This season he directed professional productions of The Music Man and Sunset Boulevard with current U-M students Jordan Barrow and Adrian Baidoo and former U-M student Chris Peluso. Following these productions, he directed Rodgers and Hammerstein’s Cinderella at Kansas City Starlight. In between productions, he taught workshops in Los Angeles, San Diego, Kansas City, and Wichita.

MARILYN MASON (organ) was awarded the SMTD’s annual Harold Haugh Award for excellence in studio teaching for 2010–2011 after being nominated by her department and selected by the School’s Executive Committee. Her acceptance of the award came in the form of a lecture, which took place at the 51st Conference on Organ Music, of which Mason was director. The lecture featured four of her former students including Andrew Meagher (’10) who performed the premiere of Jerry Bilik’s Prelude and Fugue, a work based on Michigan songs and commissioned by Mason. Last summer Mason taught at the Pipe Organ Encounter in Ann Arbor and played a concert on the Marilyn Mason Organ in BAM Hall on June 19. ANNETTE MASSON (theatre & drama) organized and chaired the National Society of Arts and Letters Musical Theatre Competition for its mid-Michigan chapter. U-M student Ashley Park won first place ($500). The competition took place in October at the Walgreen Drama Center on U-M’s North Campus. Park will go on to represent the Michigan Chapter in the National Finals in El Paso, TX, in May. Twenty-two students from U-M and Oakland University participated, performing five-minute presentations of theatrical song and dialog


excerpts. Other U-M winners were Daniel Berryman (Second Prize $300), Samantha Massell (Third Prize $200) and Honorable Mentions Robert Ariza ($100) and Alexandra Fragaso ($100). CHRISTIAN MATJIAS (dance) recently performed Le Sacre du Printemps with Ilya Blinov in Ann Arbor; Urbana, IL; and Richmond, VA. In June, he presented a lecture-recital at Jane Austen’s House Museum in Hampshire, England, celebrating the 200th anniversary of the publication of Sense and Sensibility. He performed a program on the museum’s 1803 Clementi piano that featured music from Jane Austen’s personal collection. Matjias was also invited to present conference papers at Boston University and The Center for Hellenic Studies in Athens, Greece, and for the College Music Society and the Congress on Research in Dance. MARIE MCCARTHY (music education) presented a public lecture entitled “Arts Education and Social Transformation” at Trinity College, Dublin, and served as external program evaluator at the Irish World Academy of Music and Dance at the University of Limerick and St. Patrick’s College, Dublin City University. She was a member of the International Assessment Board of the Irish Research

Council for Humanities and Social Sciences. In June, she presented a paper at the Chattanooga Symposium on the History of Music Education, and, in California, researched the history of music education in the Mission churches. She continues to serve as liaison between the Music Education Research Council and the Special Research Interest Groups of the National Association for Music Education. THEODORE MORRISON (voice/conducting, 1987–2005) marks his first collaboration with The Santa Fe Opera with the commission of his first opera, Oscar. A respected composer of vocal works, as well as numerous pieces for chamber ensemble and orchestra, his music has been performed throughout North America, Europe, Asia, and New Zealand. Now a highly regarded composer, he began writing music at the age of 42, more than two decades after he was well established as a conductor and teacher. As a member of the faculty of the University of Michigan’s School of Music from 1987 to 2005, he served as both director of choirs and director of graduate studies in conducting. JOHN NEVILLE-ANDREWS (theatre & drama) became the co-artistic director of The American Shakespeare Collective (TASC). The


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mid-Michigan company was formed out of a perceived desire for high-quality Shakespeare production, as well as to recognize the works of worldrenowned classical authors. The plays are to be presented with a pioneering approach to the texts, employing bold concepts and diversified interpretations. Members of TASC include directors, actors, authors, and artisans nationwide: Tommy Gomez (actor/director, co-artistic director), Robert Benedetti (author/director), David Ivers (co-artistic director, Utah Shakespeare Festival), Tim Ocel (director), Mary Daly (actor), and others. TASC is currently working on an innovative six-person Othello. MBALA D. NKANGA (theatre & drama) led a group of fifteen undergraduate students in a trip to Gabon (Central Africa) as part of the Global Intercultural Experience for Undergraduates (GIEU) program. For one month, the students lived with host families, stayed in remote villages, visited with the Baka people, and enjoyed traditional Gabonese music and dances. For the month of July, thanks to funding from the African Studies Center and the Provost’s Office, Nkanga was involved in complementary field research for his book project on

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the Mvett performance and memory among the Fang people in Oyem (Gabon). STEPHEN RUSH (dance and performing arts technology) played the John Cage Prepared Piano Sonatas at Ann Arbor’s Edgefest and performed on electronics and mandolin in New York and in Italy with Professor Amy Chavasse. He also gave vocal performances in India, where he brought a new group of students to study music, dance, and yoga. His new (vinyl) record Naked Dance! was released this fall and features Jeremy Edwards (drums) and jazz faculty member Andrew Bishop. Dutch carilloneur Frans Haagen premiered “Kampen Portret,” commissioned from Rush to celebrate the rebuilding of a seventeenth-century carillon. Rush’s long-awaited Tango Symphony was premiered by the Detroit Symphony Orchestra under Leonard Slatkin in April on their first concert following a season-long strike. RAMON SATYENDRA (music theory) received the Merten M. Hasse Prize in Mathematics, which was conferred in August during the Lexington, KY, meeting of the Mathematical Association of America. The award is given in recognition of

the article, “Musical Actions of Dihedral Groups” (American Mathematical Monthly, June/ July 2009), which Satyendra co-authored with Alissa S. Crans of Loyola Marymount University and Thomas M. Fiore of the University of Michigan-Dearborn. STEPHEN WEST (voice) recently sang the baritone solo in Beethoven’s Ninth Symphony with the Dearborn Symphony, appeared with the Ann Arbor Symphony as narrator in Verdi’s Rigoletto, presented a solo recital with Martin Katz in Britton Recital Hall, and appeared with colleagues from the Michigan Chamber Players in “Ghetto Songs” by U-M composition professor Paul Schoenfield at the Museum of Jewish Heritage in New York City. He also adjudicated the Classical Singer magazine vocal competition and taught in the MPulse summer music program at SMTD. The La Scala Opera production of Alban Berg’s Lulu, in which he starred, was awarded the 2010 Italian Association of Music Critics prize for “Best Production of the Year.” CYNTHIA KORTMAN WESTPHAL (musical theatre) is music directing and conducting the National Tour of a new

musical, A Christmas Story, based on the classic 1983 film. She will be taking over from original music director and U-M alum, Ian Eisendrath. The show makes stops in five cities, including Detroit (the Fisher Theatre, Nov. 15–27) and Chicago (Chicago Theatre, Dec. 14–30). The show’s witty and sentimental score is composed by two U-M musical theatre department graduates, Benj Pasek and Justin Paul. In addition, the production features a remarkable number of other alumni, including cast members Alex Puette, Nick Gaswirth, and Leslie Henstock; dance captain Sean McKnight; assistant dance captain Mara Newbery and music intern Chris Ranney.

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Organ Students Celebrate Jehan Alain Organ students in the studio of James Kibbie are engaged in a year-long project to honor the centennial of the French composer Jehan Alain (1911–1940). Alain was an organ student at the Paris Conservatory who was killed at the age of 29 in battle in World War II in heroic circumstances. He died in the battle of Saumur and was posthumously awarded the Croix de guerre by the French government. Professor Kibbie’s students created a special Jehan Alain centennial webpage on the SMTD website (, which offers free downloads of

sixteen Alain works. Each work is performed by a different student and all were recorded on organs at U-M. A live music element of the centennial occurred on October 3 when nine students performed an Alain recital at Hill Auditorium as part of the 51st Annual Conference on Organ Music. Included was a performance of Alain’s “Vocalise,” adapted to the text of “Ave Maria,” which featured soprano Sara Mikat. In addition, on October 24, students Joseph Balistreri, Richard Newman, and Benjamin Woolsey joined Professor Kibbie to present a workshop on Alain for the Detroit Chapter of the American Guild of Organists.

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RYAN CHEN, a dual degree junior in euphonium performance and engineering, won the Student Division of the Leonard Falcone International Solo Euphonium Competition in August. The competition took place at the International Euphonium and Tuba Festival at the Blue Lake Fine Arts Camp in Twin Lake, MI. AMANDA MAE COHEN, a junior BFA performance student with a concentration in directing, earned college credit through the International Education for Students (IES) program last summer, which took her to London for two months. Through IES, she studied Shakespeare (including visits to the Globe Theatre and the Royal Shakespeare Company’s newly refurbished theater in Stratford) and took a course titled UK Live Theatre, which included visits to numerous theaters, backstage tours, and attendance at multiple performances in and around London.


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JONATHAN HULTING-COHEN, who will complete his BM in saxophone performance and BA in organizational studies this year, performed Luciano Berio’s Chemins IV and Roger Boutry’s Divertimento with the Philadelphia Classical Symphony in October. Also featured on the program were Daniel Matsukawa, principal bassoonist, and Ricardo Morales, principal clarinetist of the Philadelphia Orchestra, as well as the premiere of a work by composer Jan Kryzwicki. Maestro Karl Middleman conducted the orchestra of mostly Philadelphia Orchestra musicians. FAITH LOEWE, fourth year piano performance and music education student, recently traveled to Rancheria, Nicaragua, through MOST (Mission Opportunities Short Term) Ministries. The primary goal of the trip was to install water filtration systems and teach health/hygiene classes, but she also had the privilege of


sharing music with the community, which has virtually no musical instruments. In addition to teaching songs and rhythmic accompaniment to children, she gave many villagers their first experience of hearing a “piano,” thanks to a small portable keyboard that was brought from the U.S. After playing a Bach prelude and fugue, Loewe said the children “looked at me like I was a magician.” A junior theatre student with a concentration on directing, EMILY LYON was assistant director and production assistant for Shakespeare in the Arb last summer, which presented The Winter’s Tale for three weekends in June. In July, she attended a four-week study program at Shakespeare’s Globe Theatre in London. Created in conjunction with Washington University in St. Louis, the intensive program provided master classes, a trip to Stratford-Upon-Avon, and scene performances on the Globe stage.


In September, music masters student TIM MICHLING began his position as oboe instructor at Oakland University, where he teaches undergraduate and graduate level music majors, as well as non-music majors wishing to study oboe. He also coaches a student chamber group and performed as a member of the Oakland Chamber Players (a group consisting of OU faculty and affiliated Detroit Symphony Orchestra musicians). Michling is now in his second season as principal oboist of the Ann Arbor Symphony Orchestra and this year has performed with the Michigan Opera Theater Orchestra and the Flint Symphony Orchestra, as well. Musical theatre junior ASHLEY PARK won First Prize in the Musical Theatre Competition of the Mid-Michigan chapter of the National Society of Arts and Letters (NSAL), which took place at the Walgreen Drama Center on North Campus in October. Park will go on to represent the Michigan chapter in the National Finals in El Paso, TX, in May, competing against 19 other chapters for a $10,000 grand prize. In addition to Park, other U-M winners in the competition were: Daniel Berryman (Second Prize), Samantha Massell (Third Prize), Robert Ariza (Honorable Mention), and Alexandra Fragaso (Honorable Mention). The NSAL is committed to supporting and encouraging young artists and writers through competitions, scholarships, and other career opportunities.

CHRISTOPHER DOUGLAS SMITH, in his second year of the Master of Music in Improvisation program, assembled a small band of U-M music students with whom he performed traditional New Orleans-style jazz for a Tanner Lecture Series dinner in June. The event took place on the field at Michigan Stadium where President Mary Sue Coleman hosted the presidents of a number of other universities. In October, Smith also acted as music director for a donor gala at the new C.S. Mott Hospital and Von Voigtlander Women’s Hospital. There, at the close of the dinner, guests enjoyed a surprise musical number that Smith arranged for a group of twenty-five SMTD students, including a sixteen-person choir conducted by fellow student, GSI George Case IV. BEVERLY SHANGKUAN, a second year DMA student in choral conducting, has been awarded the Rackham Barbour Fellowship, established at U-M in

Conducting at the University of the Philippines (from which she is on leave); and forming a symphonic choir to perform with the country’s major orchestras.


1914 for women born in the area formerly known as the Orient, to study disciplines and professions critical to the development of their native lands. Shangkuan, a native of the Philippines, plans to return to her homeland after receiving her DMA to serve underserved communities

through outreach, education, and collaboration. Her goals include training conductors and choirs in remote areas; forming a choir for underprivileged children; providing educational experiences through artistic collaborations; developing the graduate program in Choral

ROGER ZARE, a DMA candidate in composition, won second place in the James and Paula Nelson Young Composers Competition, part of the Belvedere Chamber Music Festival held each June in Memphis, TN. The international contest is open to student composers under the age of thirty and receives approximately forty entries from around the world. Zare’s award was for his work “Geometries,” composed for clarinet, violin, cello, and piano, and was performed at the Festival by the Luna Nova Ensemble. He has previously won the ASCAP Nissim Prize, two BMI Student Composer Awards, the 2008 American Composers Orchestra Underwood Commission, and many other regional and national honors.

Students Take the Lead on New Music Starting a band might seem like a right of passage for young musicians. But when your instruments range from violin to clarinet— with nary a guitar in sight—the possibility of cliché is stopped dead in its tracks. That’s what a group of SMTD music students have discovered with their newly formed ensemble, Latitude 49. Comprising Jani Parsons (piano), Timothy Steeves (violin), Andy Hall (saxophone), Jeremy Crosmer (cello), Nonna Aroutiounian (clarinet), and Kyle Ancuncius (percussion), Latitude 49 is focused on contemporary new music and is taking full advantage of the rich creative environment found at U-M. “As a student-organized mixed-music ensemble, Latitude 49 has flexibility in its instrumental make-up and sound, creating a cohesive aesthetic while still emphasizing the individuals,” said the band’s spokesperson, Nonna Aroutiounian. “We want to bridge the gap among composers, performers, and the audience in an effort to support our generation of music making.” The group takes its name from the 49th parallel that forms the western part of the Canada–United States border, with band members hailing from both countries. But it is their Michigan location that is giving the band its jump-start, thanks to the diverse, curious, and artistically inclined audiences in Ann Arbor. The musicians are also excited by the music being created in the SMTD’s composition department, seeing great possibilities for collaboration, and they recognize the unique opportunities that exist in a unique setting.


“Without the backing of SMTD professors and organizations such as UMMA that provide a stage and space for practice and performance, it would be difficult for groups such as Latitude 49 to make much impact on the community,” said Aroutiounian. “We want to contribute to this community and make every performance a captivating experience.”

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Reunion 2011 The 2011 Reunion Weekend was a tremendous success, bringing back many members of the class of 1961 along with alumni from the ‘60s through the ‘00s. The SMTD reunion was an especially exciting one as it celebrated the golden anniversary of the 1961 University Symphony Band Tour of Russia, reuniting many members of an ensemble that made history when it toured the former U.S.S.R., Eastern Europe, and the Middle East for 15 weeks at the height of the Cold War. Homecoming weekend included a dinner celebration for members of the Russia Band Tour, held at the Michigan Union, and a reception that brought together the 1961 tour members with the University Symphony Band 2011 China tour members. This was followed by a standing-room-only panel discussion titled “Cracks in the Wall: U-M Cultural Diplomacy and the Cold War.” Later that day, Alumni Society Awards were bestowed at a wine and cheese reception

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with remarks by Dean Christopher Kendall and David Eisler, alumni society chair, and the Russia Band Tour members were inducted into the SMTD Hall of Fame. The triumphant Band-o-rama Concert, featuring the U-M Marching Band storming Hill Auditorium with “The Victors,” immediately followed the reception. This concert was open to all U-M alumni celebrating their 50th reunion and yet again brought SMTD into the spotlight. Finally, the 1961 Russia Tour participants were honored at the Big House, during the homecoming game half time, by taking the field to play alongside former and current marching band members. It was an exhilarating moment in a weekend packed with memories. Look to the spring issue of Michigan Muse for information on the 2012 reunion, which we are already eagerly anticipating, scheduled for October 11 to 14, 2012.


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Joel Hastings, DMA ’11 (piano performance), just accepted a full-time position on the piano faculty at Florida State University, to commence in the fall of 2011. Hastings cites Logan Skelton, with whom he studied, as a key figure in his training and growth as a musician. David Heetderks, Ph.D. ’11 (music theory), was just named assistant professor in Music Theory at the Oberlin College Conservatory. His primary area of research is the expansion of the tonal system in the first half of the twentieth century. He also researches the music of the New York-based alternative rock band Sonic Youth. Christopher Urbiel, MA ’08 (musicology), DMA ’10 (church music and organ), presented his dissertation “The History

of the Frieze Memorial Organ at the University of Michigan” at the 50th annual U-M Organ Conference. With Professor Michele Johns, he published examples of improvisation and hymn-playing techniques in the GIA Quarterly and presented these techniques to the Detroit Chapter of the American Guild of Organists. He collaborated with Dr. Norah Duncan IV (DMA ’94) at a conference on African-American church music in Southfield, MI, where Urbiel is organist and choirmaster. He is also choral director at Divine Child High School in Dearborn, MI.


Daniel Albert, MM ‘05 (music education), recently conducted the 2011 Central District of the Massachusetts Music Educators Association (CDMMEA) Junior Festival Concert Band. The

CDMMEA includes cities and towns in central Massachusetts and metro-west Boston. He was also awarded a grant by the Longmeadow Educational Excellence Foundation for Band Day 2012, a collaborative event that includes Longmeadow, MA middle school band students engaged in master classes and ensemble clinics with regional musicians and conductors. Gavin Bidelman, BM and BS ’07 (music theory and sound engineering), recently received his Ph.D. in hearing science from Purdue University. His dissertation work lay at the intersection between music theory, signal processing, and auditory neuroscience, attempting to understand how the brain interprets music, the connections between music and language, and the effects of musical training on the nervous system. His research has

recently appeared in the Journal of Neuroscience, Brain Research, and Brain and Language. Bidelman has accepted a postdoctoral position at the world renowned Rotman Research Institute in Toronto. He moves there with his fiancée, Jen Karpicke, this fall. Rachel Childers (née Parker), BM ’03 and MM ’06 (French horn), won the second horn position with the Boston Symphony Orchestra, which began in the fall. Drew Leslie, BM ’02 (trombone performance), is the newly appointed assistant professor of trombone at Appalachian State University. He began this position in the fall of 2011 after two years teaching at the University of Missouri. His wife, Jessica Warner BM ’04 (oboe performance), began teaching oboe and English horn at

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East Tennessee State University this fall. She recently finished a season as English hornist in the Peoria Symphony Orchestra and also released the premiere recording of Dirk-Michael Kirsch’s Ganymed for solo oboe. Drew and Jessica reside in Boone, NC, with their new baby, Thad. David T. Little, MM ’02 (composition), recently heard the world premiere of Radiant Child, commissioned by the New World Symphony, and saw a new production of his opera Soldier Songs at the International Festival of Arts and Ideas. This year, Little’s works will be premiered by the Baltimore Symphony Orchestra, conducted by Marin Alsop, the Brooklyn Philharmonic, and Alarm Will Sound. His ensemble Newspeak just released their first CD featuring Little’s sweet light crude. His and the sky was still there can be heard on Todd Reynolds’s recent release Outerborough. Little is currently executive director of New York’s MATA Festival.


Dr. Marcía Porter, DMA ’02 (vocal performance), and now on the voice faculty at Florida State University College of Music, is a recipient of a Fulbright Scholars Grant. She will spend spring semester 2012 at the Universidade de São Paolo to teach a graduate performance and literature course on contemporary American and Brazilian art song literature. In collaboration with Brazilian pianist Dr. Luiz Ballestero (DMA 2003), Porter will present recitals of both American and Brazilian contemporary classical vocal literature. Recent performances

Andy Papas, BM ’07 (voice), returned to Union Avenue Opera in St. Louis in July as Pong in Turandot. He previously enjoyed a successful run as The Major General in that company’s The Pirates of Penzance. Papas was a 2011 Emerging Artist with St. Petersburg Opera, performing Marullo in Rigoletto, Schaunard in scenes from La bohème, and covering Sharpless in Madama Butterfly. In 2012, he will tour with Wisconsin-based Opera For the Young as Father in Hansel and Gretel.


include Mozart’s Requiem and Barber’s Knoxville: Summer of 1915 with the San Antonio Symphony, with Anthony Elliott conducting. Kristen Sague, BFA ’06 (dance) and colleagues from San Francisco’s Ballet Afsaneh traveled to remote GornoBadakhshan Autonomous Region in Tajikistan this summer. They were the first western dance ensemble to perform at the Roof of the World festival in Khorog Central Park in the Pamir Mountains. The international participants represented the countries of Tajikistan,


Kazakhstan, Kyrgyzstan, and Afghanistan. For the remainder of the summer, she and her colleagues traveled to other remote areas of the Pamiri mountains in order to study, collect costumes, and learn music and dance forms of ancient Central Asian cultures. They returned to the U.S. in September. Eric Shieh, BM ‘04 (music education), is a founding teacher and curriculum designer of the New York City Metropolitan Expeditionary Learning School, “A School for a Sustainable City,” currently recognized in its first year for its ground-breaking interdisciplinary, community-action based curriculum. He was also named a New York City Education Pioneers Fellow, and was awarded the “Courage” award for his pursuit of social justice in urban education reform. Shieh continues to publish widely on music education and policy, recently contributing a chapter on youth cultures to the forthcoming Oxford Handbook of Music Education and a research review for the National Standards in Music revision committee. Donald J. “DJ” Sparr, MM ’99, DMA ’03 (composition), has been selected as the new Young American Composer-inResidence for the critically acclaimed California Symphony in Walnut Creek, CA, now celebrating its 25th anniversary. It’s a two-year residency during which the symphony commissions and performs one of his works, preceded by multiple


36 Michigan Muse


reading rehearsals which are recorded, with direct feedback from the symphony’s music director and the musicians. Sparr, a prolific American composer and guitarist, will also be involved in educational programs in the schools and community at large. Emery Stephens, DMA ’09 (voice performance), completed his first year as assistant professor of voice at Wayne State University in Detroit. He was awarded the Dean’s Creative Research Grant from the College of Fine, Performing & Communication Arts, and will visit repositories at the Center for Black Music Research in Chicago and the Schomburg Center for Black Culture in New York to produce a multimedia recital of African-American art songs, including spirituals, by under-represented composers of color in classical music. Gregory X. Whitmore, BM ’01 (music education), led the Cathedral City High School Symphonic Band on a two-week performance tour of France and Germany in March 2011. Gregg conducted the CCHS Band in France at the Chateau Vaux-le Vicomte outside Paris and in Germany at Heidelberg Castle and the America Haus in Munich. Prior to the tour, the band worked in collaboration with composer Frank Ticheli (MM ’83, DMA ’87). Whitmore also led the CCHS Marching Band in a nationally televised performance in the 2010 Hollywood Christmas Parade. Whitmore has been selected as a CCHS “Top Ten Educator Of The Year” six times.


Paul M. Collins, BFA ’96 (theatre & drama), just earned his MFA in theatre design from the University of Iowa and will begin as assistant professor of theatre at the College of Charleston in South Carolina in the fall. Catherine Gordon-Seifert, MA ’86, Ph.D. ’94 (musicology),


writes that her Music and the Language of Love: SeventeenthCentury French Airs was just published by Indiana University Press this past March. Keren Schweitzer-Lippmann, BMA ’94 (flute), was the 2011 first place winner of the Byron Hester Flute Competition. As winner, she will perform a solo recital at the University of Houston in 2012. She appeared in concert with cellist Jason Lippmann at the National Flute Association Convention in August, 2011 in Charlotte, NC, where they performed Yuko Uebayashi’s Suite for flute and cello.


David Belcher, MM ’81 (piano performance), has been named chancellor of Western Carolina University. He previously served as provost and vice chancellor for academic affairs at the University of Arkansas at Little Rock and dean of the College of Arts and Letters at Missouri State University.

Lynette Kessler, MFA ’83 (dance), recently celebrated the 10th anniversary of Dance Camera West, a dance film festival she founded in Los Angeles. This festival has been awarded two “Best of LA” awards by the Los Angeles Times, as well as numerous other accolades over the past decade. This fall, Lynette will travel to Mexico City, Brussels, and Paris to present dance media programs. You can see more information about the festival at www.dancecamera Daniel De Kok, BM ‘82 (music education), has retired from public school music teaching. He continues to sing and play professionally in greater Philadelphia and will start coursework towards a master’s in library science at Clarion University of Pennsylvania in January. Katherine (Kitty) Eberle Fink, DMA ‘86 (vocal performance), has been touring with her one-woman show Pauline Viardot: Composer, Singer,

Forgotten Muse, both in the U.S. and, most recently, in Liverpool, England at the “Diva” Interdisciplinary Conference at Liverpool Hope University. In September, she was featured at the International Association of Women in Music Conference in Flagstaff, AZ, performing the Viardot show. In December, she will lecture on Viardot’s Lieder in Maynooth, Ireland. There is now a DVD of the project and in 2012 she will record her next CD of women composers. This fall, she continues her voice teaching at the University of Iowa School of Music, where she is professor of voice. Dave Flippo, DMA ’87 (composition), released his fourth CD, Tao Tunes, with his Chicago-based jazz quartet FLIPPOMUSIC. Flippo adapts the English text of eighteen chapters of the ancient Tao Te Ching into lyrics and sets and arranges them in over ten different styles, including jazz, Latin, and contemporary. On the CD, he appears as both pianist and vocalist with group members Dan Hesler (saxophone/flute), Donn De Santo

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|| alumni notes |


(bass), and Heath Chappell (drums). FLIPPOMUSIC has been performing and recording his compositions since 1992 and has released two world-jazz fusion CD’s, Tendrils of Light and Ganesh, and his vocal debut, When the Heart is Strong. Israel Kremen, DMA ’89 (composition), is teaching at the Duquesne University School of Music City Music Center and Civic Light Opera Musical Academy in Pittsburgh, PA. The Michigan Record Company released the two CDs from the live performance of the world premiere of his interactive composition Kaleidoscope of 25 Preludes and Fugues for Piano and Humankind with pianist Irena Portenko (MM ’99, DMA ’04). James Lowe, BM ‘89 (piano), is the music director and conductor of the current Broadway production of Cole Porter’s Anything Goes. The production won three 2011 Tony Awards, including Best Revival. Jim recently conducted and served as associate producer of the new Broadway cast album, which was released in September on Ghostlight Records. He and the cast have appeared on The Late Show with David Letterman, The CBS Early Show, and A Prairie Home Companion, and recently sang the National Anthem for a New York Mets game. In the upcoming season, Jim will conduct Floyd’s Of Mice and Men with the Utah Opera. Michael Mazzatenta, BM ’85, MM ’86 (organ performance), was the 2011 Guest Conductor for the United Methodist

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Handbell Festival in Fayetteville, North Carolina. Performances included two of his published works for handbells, “Renewed Spirit” and “Resplendent Ringing.” His latest arrangement, “On This Day Earth Shall Ring” (Alfred Music) is his nineteenth published piece for handbells. He is the jazz pianist on the latest MazzJazz recording Time for You, which features original jazz compositions by his twin brother and guitarist Mark Mazzatenta. Michael is the director of organ and handbells at La Casa de Cristo Lutheran Church in Scottsdale, Arizona. Barbara Neri, MFA ‘80 (dance), produced her new play Unlocking Desire at the Marlene Boll Theater in Detroit in September, choosing 2011 since it marks the 100th anniversary of playwright Tennessee Williams’ birth. The play is in part a fascinating homage to Williams, appearing to imagine his tragic heroine Blanche DuBois as she might have been after A Streetcar Named Desire, but all is not as it seems, Neri says. Unlocking Desire emerged from her exploration of Williams’s allusion to Elizabeth Barrett Browning, a subject of ongoing scholarly interest for her, in Scene 3 of the Williams play. Albert Wang, MM ‘81 (violin), was in Thailand in June to present recitals and master classes at Chulalongkorn, Mahidol, and Payap universities. In July, he served as concertmaster of the Baroque on Beaver Festival Orchestra on Beaver Island, MI, and was also



featured as a soloist, performing the J.S. Bach Concerto for Violin in E Major, BWV 1042. Recently appointed concertmaster of the North Shore Chamber Arts Ensemble, Dr. Wang is a member of the Lyric Opera of Chicago Orchestra.


Tim Bartholow, BM ’73 (music education), MM ’74 (percussion performance), enjoys retirement with his flutist wife Lisa, after thirteen years as founding director of the University of Georgia’s Office of Performing Arts, presenting concerts ranging from Bolcom & Morris to the Cleveland Orchestra, and after two years on the music business faculty of UGA’s Terry College of Business. He previously held management positions with the New Orleans and Chicago symphonies and the University of Nebraska’s Lied Center for Performing Arts. Over the course of his career, Bartholow was a Tanglewood fellow, performed with the Boston and Chicago symphonies, and the Leningrad Philharmonic, and was a member of the United States Army Band at West Point, NY. Connie Bergstein Dow, MFA ‘76 (dance), recently completed her second book. One, Two, What Can I Do? Dance and Music for the Whole Day (Redleaf Press, 2011), offering over 100 creative dance activities that can be used throughout a young child’s day. Two music CD’s are included, with 43 songs and instrumentals by Debbie Clement.


Marshall J. Fine, MM ’79 (viola performance), was violin soloist with the Dyersburg (TN) Community Orchestra in the Mozart Concerto no. 1, with his own cadenzas. The next day, his song-cycle, Terezin Child-Songs op. 120 for soprano and flute was premiered in Nashville before Holocaust survivors and Tennessee Governor Bill Haslam. The flute part of the cycle has an alternate version for viola, in case Mr. Schotten is interested. Nancy Groce, BM ‘74 (flute performance), MM ‘76 (musicology and ethnomusicology), is now Senior Folklife Specialist at the Library of Congress’s American Folklife Center in Washington, D.C. Her latest book, Lox, Stocks, and Backstage Broadway: Iconic Trades of New York City, was published recently (Smithsonian Scholarly Press, 2010) and she co-produces a regular radio feature, “Treasures from the American Folklife Center,” for the Bob Edwards XM show. Mary Z. Maher, Ph.D., 1973 (theatre & drama), has won the 2010 Falstaff Award for Best of the Books About Shakespeare for her third book on Shakespeare in Performance, Actors Talk About Shakespeare, published by the Hal Leonard Performing Arts Publishing Group. It features interviews with Kevin Kline, Stacy Keach, Kenneth Branagh, Derek Jacobi, Zoe Caldwell, Nicholas Pennell, and others. Ann McCutchan, MM ‘76 (clarinet), published two books


in 2011, Circular Breathing: Meditations from a Musical Life (Sunstone Press) and River Music: An Atchafalaya Story (TAMU Press). She is on tour with both this fall. McCutchan is a professor of creative writing at the University of North Texas and was named to the Texas Institute of Letters in 2010. Roberta Raider Sloan, MA ’67, Ph.D. ‘70 (theatre & drama), was appointed founding dean of the College of Fine Arts and Mass Communication at Sam Houston State University. This follows positions as chair of the Arts Commission and the Department of Theater at Temple University, chair and producing artistic director of University of Central Florida Conservatory Theatre, executive producer of the Orlando Repertory Theatre, and chair of the Department of Theatre, Dance and Media Arts at the University of Central Oklahoma. She is an active director and actress, most recently receiving raves for her one-woman show The Life and Times of Deborah Franklin. Donald Sosin, BM ‘73 (composition) is celebrating 40 years of writing silent film music with performances

at Lincoln Center, MoMA, and the Bologna, Pordenone and Shanghai festivals. He scored several shorts for the Criterion Collection and NYU Press, and Edison’s Origins of Beethoven’s Moonlight Sonata for the Library of Congress. San Francisco Chamber Orchestra members premiered his octet for a Harold Lloyd film. At the Music Teachers Association of California convention, he lectured, coached students, and presented the results at the San Francisco Silent Film Festival. He and his wife, Joanna Seaton, just completed a commission for the Chicago Symphony Chorus.


Robert Streckfuss, BM ’65 (music education) MM ’66 (wind instruments), retired in May after 45 years teaching, 36 of those as professor of music at the University of Delaware, where he directed the wind ensemble, taught conducting and music education methods classes, supervised student teachers, and mentored graduate students. His wind ensemble was chosen eight times to perform at eastern division meetings of MENC. He also performed as principal trombonist in the Delaware

Symphony Orchestra for 15 years. Streckfuss continues as music director of the Wind Symphony of Southern New Jersey, a community wind ensemble that he has conducted since 1977.


Eugene Heffelfinger, BM ’48, MM ’49 (music education), sent us a photo of a recent reunion of the 1948 Rose Bowl Michigan Marching Band. “What a great

year that was,” Heffelfinger says of the ’48 Rose Bowl experience, “what a great trip that was.” That was the year the Wolverines earned the first outright Big Ten championship since 1933, having shut out both Michigan State and Ohio State. That team was coached by Fritz Crisler and included Chalmers “Bump” Elliott, playing both offense and defense. At the 1948 Rose Bowl game, Michigan defeated the highly regarded Southern California 49–0.

What’s New With You? Please note that all alumni submissions for the Spring 2012 issue of the Muse should be emailed to (not case sensitive) or mailed to Editor, Michigan Muse, School of Music, Theatre & Dance, 2005 Baits Drive, Ann Arbor, MI 48109-2075. As always, please try to limit words to 100 (longer entries will be edited) and submit in paragraph form (no resumes, press releases, or bulleted lists). Photos always welcomed, but must be high resolution, at least 300 dpi. Photos to be scanned may be mailed and will be returned. Questions: call 734-763-1478. Spring deadline: February 15, 2012.

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|| in memoriam |

1930s Elizabeth V. Mann, MM ’36 in cello, died April 13, 2011


Mary J. Stephans Jacobi, BM ’49 in music education, died June 23, 2011

Fred P. Coulter, BM ’56 and MM ’58 in piano, died October 19, 2011

Marcia Netting Thompson, BM ’45 in music theory, died October 1, 2011

Donald R. Haas, BM ’53 in wind instruments, died August 2, 2011

Professor Dean C. Howard, MM ’42 in composition, died August 1, 2011


Irene B. Huggins, BM ’43 in piano, died July 7, 2011

Waldie A. Anderson, MM ’54 in music education and voice, died May 22, 2011

Dr. Elizabeth C. Thomas, MM ’49 and ’52 in organ and music literature, MA ’60 in education, died April 3, 2011


John Leon Iltis, MM ’50 in music education, died April 17, 2011

Allen F Kindt, DMA ’70 in piano, died July 18, 2011

Dr. Jennie Bell Killilea, MA ’53 in theatre, died May 22, 2011

Carolyn Lipp, MM ’78 and DMA ’01 in harpsichord, died September 15, 2011

Eunice L. Loeweke, BM ’57, MA ’58 in music literature, died April 18, 2011

Dr. Joan Luce, PhD ’75 in musicology, died April 27, 2011

Renah Bardenstein, BM ’51 in piano, died September 16, 2011

Donald E. McComas, BM ’55 in trumpet and music education, died March 28, 2011

Leo M. Najar, BM ’76 and MM ’77 in viola and violin, died May 17, 2011

Col. A.T.B. Rutherdale, MM ’44 in music education, died April 16, 2011

Jeanne L. Bond, BM ’53 and MM ’59 in music education and piano, died April 26, 2011

Paul J. Wallace, BM ’50 and MM ’54 in music education, died October 27, 2011

Charles John Reineck, BM ’72 and MM ’74 in organ, died May 30, 2011

Margery R. Schmitz, BM ’43 in music education, died April 19, 2011

John McChord Christie, BM ’58 and MM ’59 in music education, died August 30, 2011

Pearl F. Seymour, BM ’49 in organ, died October 28, 2011

C. Duane Corbett, MM ’51 in music education, died October 31, 2011

Marie H. Jensen, MM ’49 in piano, died October 17, 2011 Donald L. Marrs, BM ’41 in music education, died May 24, 2011

Alvah Bruce Arney, BM ’55 in music education, died May 20, 2011

CORRECTION: Profound apologies to Zara E. (Laux) Dick, BM ’49 (piano) who was mistakenly listed in this section in the spring 2011 issue of the Muse. It was her husband Lucien Dick (BA ’41, MBA ’48) who passed away on November 3, 2009. Zara is alive and well, living in Westlake Village, CA. Lucien, a horn player, was well-known in jazz circles and played until the end of his life.

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1960s Dr. Edward J. Drew, MM ’62 in music education, died October 26, 2011 William A. Hazzard, MM ’68 in music education, died August 5, 2011

Kenneth L. Scheffel, DMA ’70 in violin, died April 5, 2011

1980s Linda H. Cressman, MM ’82 in voice, died May 27, 2011 Dr. Steven L. Larson, PhD ’87 in music theory, died June 7, 2011

Julia Carolyn Kurtyka, BM ’65 and MM ’67 in string instruments and education, died June 2, 2011

Richard John Shillea, BM ’80 and MM ’84 in clarinet, died September 29, 2011

Donald M. Parrish, BM ’60 and MM ’69 in music education and literature, died July 12, 2011


David K. Rick, MM ’67 in composition, died June 3, 2011 Melvin D. Soyars, MM ’64 in wind instruments, died April 3, 2011

Bruce Patterson, MM ’91 in piano accompaniment and chamber music, died April 28, 2009



Ralph Piper Beebe, 1928–2011 Ralph Beebe, theatre house manager for many of the University’s prestigious performance venues from 1973 until his retirement in 1996, died at his home in Ann Arbor in November. Beebe was born December 19, 1928, along with a twin sister, Helenetia. He served in the U.S. Navy for two years, stationed in Italy, and received his undergraduate degree from Knox College in Illinois. He received his master’s from the U-M Department of Theatre & Drama in 1966. Ralph acted in a number of U-M productions throughout the years, most recently in a production of The Skin of Our Teeth in 1987, directed by Philip Kerr. Beebe began his career as theatre house manager in charge of the Power Center and the Lydia Mendelssohn Theatre. When SMTD became the managers of Hill and Rackham Auditoriums, he took on those spaces, as well. He was active in the Ann Arbor Historical Foundation, Washtenaw County Historical Society, and the Downtown Ann Arbor Historical Street Exhibit Program, and he was a docent at the Michigan League. He is survived by his twin sister and several nieces and nephews. University Productions will be dedicating this February’s production of Noises Off to Beebe’s memory and a memorial was held for him at the Power Center on December 1.

Eugene Bossart, 1917–2011 Eugene Bossart, the Earl V. Moore Professor Emeritus of Chamber Music, who taught at


U-M from 1954 to 1984, died at Glacier Hills Senior Living Community on November 12 at the age of 94. During his tenure, Bossart served as the head of the accompaniment department, was honored with two professorships, and received the Harold Haugh Faculty Award for excellence in studio teaching, the SMTD Hall of Fame Award, and the University Distinguished Faculty Award. Gene Bossart was born in Erie, PA, and was a scholarship student at the Curtis Institute of Music. During World War II, he served in the Army in the South Pacific and was awarded a Purple Heart. Prior to his appointment at U-M, Bossart toured the world for thirty-seven years as an accompanist to leading artists, including many Metropolitan Opera singers. Following his retirement, he served as artist-in-residence for over twenty years at Schoolcraft College. Throughout his career, he conducted workshops and master classes at colleges and universities and was on the faculties of the Banff Festival, the Blossom Festival, and the Chatauqua Summer Music Festival. Bossart continued to teach privately well into his retirement at Glacier Hills, where he lived for 33 years. The professor’s name lives on thanks to the Eugene Bossart Concerto Prize—an endowed scholarship established in 1991 by Dr. Clyde and Helen Wu to honor the much beloved instructor, which is awarded to the winner of the annual Campus Orchestras Concerto competition. In addition, the professor himself created the Eugene Bossart Endowed Scholarship for a student in accompanying/chamber music or piano. A memorial service at SMTD was being planned at the time Muse went to press.

Elizabeth B. Dexter, 1919–2011 Elizabeth B. Dexter, wife of the late Professor Benning W. Dexter, died on April 18 at the age of 91 in her home at University Commons. Benning Dexter, who was also a well-known concert pianist, joined the piano faculty at the U-M School of Music in 1949 and was chair of piano from 1961–73. Elizabeth Dexter moved to Ann Arbor in 1930 when her stepfather, pianist Joseph Brinkman, joined the School of Music faculty. She attended the university and received her BA in 1940 from LSA and her MSW in 1954. She was employed as a clinical social worker at the U-M Mental Health Clinic, Children’s Psychiatric Hospital, and Turner Geriatric Clinic, and actively volunteered at Planned Parenthood, the University Commons Condominium Association, Learning in Retirement, and the Turner Senior Resource Center. Dexter was a long-time supporter of and participant in the performing arts, and a generous benefactor to SMTD. Following her husband’s death in 1996, she established the Benning Dexter Scholarship Fund for piano majors. She was also an important donor to the Walgreen Drama Center and donated a Steinway piano to the school. Dexter is survived by her stepdaughter, Drucilla Marseilles, and her husband William, along with their children and grandchildren.

Lillian Guimond Drury, 1922–2011 Lillian Drury, who managed the League Ticket Office from 1962 until 1991, died on November 4, shortly after her eighty-ninth

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|| in memoriam | Sammy Davis, Jr. Although known for comedy, Mercer also drew excellent reviews for dramatic leads in repertory theater. From the 1960s through the 1980s, she was a regular presence on television, appearing as a guest star on variety shows, talk shows, and sitcoms. From 1980 to 1982, she was a cast member of ABC’s It’s a Living, a popular sitcom about waitresses in an upscale restaurant in which she played the humorless hostess. Mercer is survived by her husband, Patrick Hogan, and her daughter, Deirdre Whitaker. There is a musical theatre scholarship in Mercer’s name that was established by Svea and Whit Gray. JOHN A. FLOWER WITH HIS WIFE, THE LATE MAXEEN STONE

birthday, following a short illness. A U-M graduate who received her BA in theatre in 1963, Drury remained an avid theatergoer until the very end, and had especially been looking forward to seeing one of her favorite former students, Priscilla Lindsay, direct a production in the Power Center. The theater was not just a job for Drury, but a calling. She was devoted to providing the best service to “her” subscribers. She cared passionately about each ticket buyer’s needs and experience. Working in the age before computerized ticketing systems, she had an extraordinary memory for detail. She would stand at the rear of the Power Center during performances surveying the audience and with the seating charts memorized, she could name any subscribers who were absent. Drury was preceded in death by her beloved husband, W. Edward Drury in 1991. She is survived by her brother, George Raymond Guimond, and several nieces and nephews.

John A. Flower, 1921–2011 John A. Flower, a former U-M School of Music associate dean who went on to become president of Cleveland State University (CSU), died at home in Shaker Heights, OH, on May 12 at age 90. Born in Aberdeen, WA, Flower studied at the University of Washington and piloted bomber planes in the South Pacific during World War II before earning master of music degrees from U-M in piano and music theory. He began teaching at U-M in 1951, and earned his Ph.D. in musicology in 1956. He rose from instructor of music to associate dean and received a Rackham

42 Michigan Muse


Faculty Research Award and a Distinguished Teaching Award. Flower then served for seven years at Kent State University as dean of the College of Fine and Professional Arts and associate provost, and was the founding dean of the Blossom Festival School, a joint program of Kent and the Cleveland Orchestra. He joined CSU in 1973 as vice president for academic affairs and became provost in 1979. He was named president in 1988, during which time he oversaw the rise of the Convocation Center and the Music and Communication Building. He retired from CSU in 1992 and became founding chair of the Ohio Aerospace Institute and spent nine years as executive director of the Northeast Ohio Council on Higher Education. Flower, who was also an accomplished concert pianist, is survived by his daughter Jill, of Shoreview, MN, and his son John Jr., of Frankfurt, Germany.

Marian Mercer, 1935–2011 Tony Award-winning actress and U-M music alumna Marian Mercer, 75, died on April 27 in Newbury Park, CA, from complications of Alzheimer’s disease. Born in Akron, OH, Mercer graduated from U-M with a degree in voice, but became famous as a brilliant and beautiful comedic actress. Upon graduating in 1957, she moved to New York and had her big break in 1961 playing the title role in the Off Broadway hit Little Mary Sunshine. In 1969 she received a Tony as Best Featured Actress in a Musical for her role in Neil Simon’s Promises, Promises. She again drew great critical acclaim in the revival of Stop the World—I Want to Get Off, in 1978, portraying four different women opposite

Charles A. Reynolds, 1962–2011 Charles A. Reynolds, SMTD’s highly esteemed senior associate librarian and a member of the musicology department, died at his home in Ann Arbor on October 2 from a brain tumor. He was 49. Born in San Francisco in 1962, Reynolds earned his BM in organ performance at Oberlin College Conservatory of Music in 1984 and continued his studies at the Institute of Sacred Music at Yale University, from which he obtained a master’s in music in 1987. He earned his master’s in library science from the University of Illinois at UrbanaChampaign in 1991. Reynolds joined SMTD’s music library in 1993 and became head librarian in 2002. As an adjunct lecturer, he taught a bibliography of music course to graduate students in performance, composition, and music theory. An accomplished musician who served the community as an organist, choir director, and jazz musician, Reynolds performed regularly at a number of churches in the Ann Arbor area. His repertoire was vast and included everything from Bach preludes, fugues, and toccatas to spirituals and contemporary song. Reynolds was a devoted father, with Anita Sherman Moran, to Alexander, Brenna, Jacob, and Liam (who preceded his father in death). He is survived by his wife, Rebecca Price, a librarian in the university library, as well as his father, Lloyd, his brother, Jonathan, and his sister, Katherine.

GIVING UPDATE We are pleased to share the impact of the following recent gifts to benefit the students and programs of the U-M School of Music, Theatre & Dance.

Gifts for Scholarship Support We are incredibly grateful for the following donations to establish or enhance scholarships here at the SMTD. Without scholarship support, many gifted students would be unable to attend and miss the wonderful opportunities for arts education offered at U-M. Sandy (BBA ’53, MBA ’54) and Jeanne Robertson recently made a gift of $1 million to establish the Jeanne and Sanford Robertson Scholarship Fund for musical theatre students. This gift substantially increases the number of scholarships we will be able to offer incoming students, which, in turn, will help the program continue to attract top talent. “We’ve got a top-flight program,” Sandy Robertson says. “Jeanne and I really wanted to help it maintain that quality and continue to place graduates on Broadway and in national tours.” An estate gift of $300,000 was made to establish the Blanche Thebom Opera Scholarship Fund for students pursuing a degree in voice performance with the intent to pursue a career in opera. This scholarship will help continue the powerful legacy of one of the twentiethcentury’s great mezzo-soprano’s, Blanche Thebom, who helped to firmly establish the operatic tradition in the United States and who dedicated much BLANCHE THEBOM of her life to nurturing operatic talent in young singers. Dr. Roger Greenberg (BS ’57), a trustee of Ms. Thebom’s estate, chose to establish the scholarship at Michigan because of SMTD’s long tradition for cultivating operatic talent. Alberta and George Abbott made a generous gift to establish the George A. and David S. Abbott Endowed Scholarship to provide scholarship support for students in the School of Music, Theatre & Dance, with preference given to those students studying trumpet. A gift from the estate of Elsie Kalionen (BM ’50, violin) will provide scholarship support for students pursuing a degree in string performance.


Santosh (MBA ’70) and Anita Mehra, long-time patrons of SMTD performances, made a generous gift to establish the Mehra Endowed Scholarship to provide support for students pursuing a degree in dance, musical theatre, or vocal performance. A gift from the estate of Mary S. Palmer (BM ’37, music theory) established the Mary Palmer Endowed Scholarship to alternate yearly between a voice student and a collaborative piano student. Alan (BS ’82) and Cynthia Berkshire made a gift to establish the Glen A. Reavis, Jr. Memorial Scholarship Endowment for a

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member of the Michigan Marching Band in memory of Cynthia’s father.

Composition, and the Brehm Commission.

following supporters for including the SMTD in their plans.

The Schwartzberg Family, including U-M alumnus Harris Schwartzberg (BA ’89), made a generous gift to enhance the Steven M. Schwartzberg Music Scholarship, which provides support for students in voice and musical theatre.

Dale (PHD ’68, MS ’58) and Nancy Briggs made a generous gift to grow the Dale and Nancy Briggs Chamber Music Endowed Enrichment Fund for scholarship and programmatic needs of the chamber music program.

Nafe Katter (PHD ’63, MA ’52, BA ’49, theatre) recently endowed a scholarship for theatre students who demonstrate talent in classics.

A gift from the Charles H. Gershenson (JD ’26) Trust, per the direction of trustee Maurice S. Binkow (BA ‘54), has created the Charles H. Gershenson Instrument Fund to help purchase and maintain auxiliary instruments at the School, allowing the SMTD to purchase much needed string, percussion, and wind instruments.

Robert (MA ’62, BA ’60) and June Chartrand (MA ’59) have given a charitable remainder trust to provide both scholarship support and discretionary funding for the symphony band programs. Richard Gaskill (BA ’57) has shared his intention to provide support for the Michigan Marching Band. Phyllis Kaplan (PhD ’77, MA ’63, BA ’60, music education) has made provisions to provide support for initiatives that promote excellence in teaching to the department of music education. Harold Newland (JD ’69, MA ’66, BA ’64) has shared a bequest intention to help support several areas of the SMTD, including students and orchestral programs. Duane Thomas (BA ’66) has established a testamentary charitable remainder trust to benefit voice students, and Susan (MM ’72, flute) and Roger (MBA ’72) Waller have made provisions for flute students through their estate.

Gifts for Programmatic Needs Gifts to enrich programs enhance the excellence of the School and have an impact on how the SMTD contributes to the artistic and scholarly landscape of the University, our communities, and our nation. William (BS ’50, MS ’52) and Delores Brehm made a gift to endow their support for the choral program through their Brehm Fellowship in Choral Conducting, Brehm Prize in Choral

A Shearwater Grant has been received to help purchase needed instruments and equipment for the oboe studio, allowing students opportunities to practice on an English horn and borrow equipment if their instrument needs repair.

Planned Gifts Planned gifts are critical to the future of the School and we are grateful to the

Please call the Office of Development & External Relations at 734-764-4453 if you have any questions or would like to explore giving opportunities.

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HONOR ROLL OF DONORS July 1, 2010 – June 30, 2011 The University of Michigan School of Music, Theatre & Dance sincerely appreciates all the alumni and friends who made a gift to support the educational initiatives of this top-tier performing arts school during the 2011 fiscal year. Your philanthropic commitments have provided the scholarships, educational experiences, performance opportunities, and improvements to facilities that allow our faculty and students to continue to excel

as artists and scholars. Dean Christopher Kendall, the faculty, staff, students and I are all truly grateful for your generosity and dedication.

$500,000 and above

Ann & Gordon Getty Foundation Howard J. Gourwitz David and Susan Guilmette Mr. and Mrs. Martin H. Gurvey Jackson and Margaret Hammitt Dr. James Harris James E. Harris Judith and Verne Istock Barbara Abramoff Levy Mr. and Mrs. Jeffrey N. Lutz Alan and Janis Menken Austin and Janine Moore Elizabeth A. Mould Nancy E. Pfund Steven and Leslie Roach Richard R. Roemer Estate Allen and Claire Wilcox Mr. and Mrs. Jack A. Wright

James L. Curtis, M.D. Gay Ann Delanghe Trust


Beth Landis Noggle Estate


Cynthia and Alan Berkshire Dr. and Mrs. Dale E. Briggs Evangeline L. Dumesnil Trust Elsie Evelyn Kalionen Estate Harry A. and Margaret D. Towsley Foundation


Charles H. Gershenson Trust Nafe E. Katter, Ph.D. Marilyn M. Mason

Steven Schwartzberg Foundation Donald R. Shepherd


Delores and William Brehm Elise M. Cambon Estate Richard and Denise Elmquist Louise G. Hill Estate Benard L. Maas Foundation Robert and Pearson Macek Mary S. Palmer Trust William and Donna Ronsaville Shearwater Grant James and Stephanie Walter


Anonymous (2) Anthony and Christine Alcantara William and Rosella Bauman Family Mark and Cynthia Blair Donald and Betts Chisholm Betty Ellen Cummings

Many thanks, Maureen Schafer Director of Development & External Relations

$5,000-$9,999 Anonymous (3) Mr. and Mrs. Richard J. Alder, Jr. Dr. Charlene Paullin Archibeque Peter and Barbara Benedek Kathryn V. Bovard Estate Cigna Foundation

Mary Ann Crystal Deloitte Foundation Mary Jane Drubel ExxonMobil Foundation John David Ficeli Fremont Group Foundation Dr. Joseph M. Galema, Jr. Paul and Astrid Ganson Thomas and Mary Gething Charles Goldberg, Esq. Richard N. Harper, Jr. Randall L. Heiser Bryan D. Hieronymus Bruce C. Johnson Curtis and Janice Jones Robert and Elaine Koester Dr. and Mrs. Jerry Kolins Mark Kolins and Maria Abrahamsen Lutheran Community Foundation William J. Mayer, Jr., Ph.D. John and Mary Ann Morgan Dr. David F. Nagle Donald and Jane Ocker Andrew and Catherine Raab S.C. Johnson and Sons Drs. Peter and Gwyneth Schroeder

Fall 2011 45

$5,000-$9,999 (continued) Joshua Lehrer and Jeffrey Seller Susan and Donald Sinta Gregory P. Weidler James L. Weinberg


Lawrence D. Bell Craig and Susan Burrows Bill and Janet Cassebaum Joanna Chozen and Justin Metz Joan F. Marshall Wayne and Patricia Cooke Anne and Howard Cooper Donald V. D’Angelo Ann and William Dodds Anne and Jim Duderstadt Emil A. Weddige Estate Irene C. Fraser Estate Mr. and Mrs. Bruce W. Galbraith Ruth and Alfred Glancy Google, Inc. Dalos W. Grobe David and Judith Haas Susan and Fred Heath Joyce H. Henderson Estate John and Gretchen Neal Jackson Johnson & Johnson Jane and Philip King James and Karen Lancendorfer Wanda Lincoln and Richard Chadwell Paul Marquardt and Andrea Tokheim Susan B. Meyer Michael and Rosemarie Pitsch Gregory and Allison Poggi The Presser Foundation Matthew and Joanna Rego John and Marilyn Rintamaki Carrie E. Smith Schuyler Estate Mark C. Somerville Michele and Paul Soucie Alan Susser and Deborah Stein University of Michigan Band Alumni Association

$1,000-$2,499 Anonymous (4) Actors Equity Association Timothy A. Adams Mark Adelson and Margaret Culhane Adult Learning Institute Richard and Mona Alonzo Carol L. Amster Dan and Eleanor Armstrong Julie and Christoph Ayotte Terry L. Bangs Norman E. Barnett, Jr. Anne Beaubien and Philip Berry Ralph P. Beebe Matthew Bejin and Megan Carpenter Brian K. Bennett Richard P. Bennett Ilene and William Birge

46 Michigan Muse

Kenneth E. Bloom, M.D. Craig and Kristine Bloomer Richard and Carol Bowman James and Gail Browne Paul D. Browning Major General and Mrs. John T. Buck Kelly L. Burrows Matthew A. Burrows Suzanne H. Butch Mr. and Mrs. Paul A. Byrd Victor E. Calcaterra, M.D. Mr. and Mrs. George Carignan David and Ann Case Robert and Maria Dominguez Chapel Robert and June Chartrand Robert W. Conley Phelps and Jean Connell Kimberly and James Cooper Jack Cowles and Sophie Dassess-Cowles Cranbrook Music Guild, Inc. Michael J. Cromwell IV Peter and Lindy Cubba Clark and Janice De Jonge Mary Hunter Dobson Bradley A. Dumont Dr. James S. Eadie Susanne M. East-Brooke Dave and Patsy Eisler Ronald and Susan Elder Mr. and Mrs. LeRoy A. Engelhardt Robert and Donna Farrell Clare Malcolm Fingerle James E. Fisk Mary and Gary Foster Bruce and Dale Frankel Harriet Gales Lois Kennedy Gamble Diana F. Gayer GE Foundation William and Inger Ginsberg Susan and Gene Goodson George and Phyllis Googasian Dev and John Gordon Captain Joseph F. Gradisher, USN Dr. Geoffrey M. Greenlee Paul and Megan Grekowicz

Michael and Melinda Haithcock Mr. and Mrs. Gordon A. Hardy Deborah and Paul Harkins John and F. Susan Harrison Martha S. Hearron Albert and Jolene Hermalin Phyllis and David Herzig Robert S. Hines Thomas D. Hitchman Laura and Jeff Hoffman Todd and Nancy Hoover Manfred Egerer and Elizabeth Hugel Virginia E. Hunt Trust Susan and Martin Hurwitz Mr. and Mrs. Charles S. Hutchins Jim and Millie Irwin Robert DeRoy Jobe, Ph.D. Dr. Michele Stewart Johns Herbert and Jane Kaufer M. Dolores and Charles L. Kelly Christopher Kendall and Susan Schilperoort Mr. and Mrs. David B. Kennedy Diane Kirkpatrick N. Peter Knoll Jim and Marsha Krause Alan J. Kriegel William G. Kring Alan and Jean Krisch Mr. and Mrs. Lawrence Kronenberger Richard A. Kruse Todd V. Lamb Paul and Carolyn Landen Cathy J. Larner Wendy and Ted Lawrence Leo and Kathy Legatski Craig M. LeMoyne John and Barbara Leppiaho David and Jan Libengood Doris and Norman Libman Priscilla Lindsay and Richard Ferguson-Wagstaffe Mackintosh Foundation Gregory and Heather Macklem Jill A. Macklem Dr. and Mrs. Edwin L. Marcus Catherine D. Marion Odette and Richard Maskell Mary and Chandler Matthews Jerry and Deborah Orr May Dick and Lynn McCord Fredrick W. and Laurie Metzger Kurt M. Miller MMB Photo Video, LLC Patricia and Thomas Morrow Mary C. Morse Charles Stewart Mott Foundation Wayne T. Muller Christopher L. Nordhoff P. LaMont and JoAnn King Okey Gary and Michelina Olmstead Parker-Hannifin Foundation Mark and Ora Pescovitz Pfizer Foundation Katherine and Sem Phan Michael and Jennifer Pisarczyk Joseph A. Placek

PricewaterhouseCoopers Cille and Steve Ramsey Charles Reinhart Co. Realtors Thomas and Catherine Roberts Rob and Karen Rock John Romani and Barbara Anderson Patrick and Margaret Ross Sharon Rowlands and Paul Blackman Judith and Donald Rumelhart Stuart Erwin Sacks Benjamin T. Salsbury Mike and Marsha Santicchia Patricia Duryea Schwarz Paul and Lianne Sefcovic Lexy and Steven Shroyer S. Gregory and Martha Smith J. Kathryn and Alan Sonnanstine Paul and Amy Sponseller Susan T. Stillings John and Gail Stout Bridget and John Styles Timothy A. Supol Bradley and Simone Taylor Carrie and Peter Throm Marilyn Tsao and Steve Gao Janeth and Amherst Turner Megan M. Uday Jefferson and Shelley Upton Thomas and Jessica VanGessel David and Susan VanHooser Richard and Joann M. Von Luhrte Susan and Reid Wagstaff John and Sarah Wakefield Patricia and Timothy Wallace Jack and Jerry Weidenbach Wein Family Foundation Zelma H. Weisfeld John O. Wilber Gregg and Kristen Wildes Beverly and Mark Wilkie Robert S. Wirthlin, M.D. James and Sandra Wojczynski David and Jean Wolter Yung-Koh and Barbara Yin Elizabeth Younker and Dale Inder Avedis Zildjian Company


Anonymous James Adams and Naz Edwards Advanced Micro Devices, Inc. Michael and Barbara Aja Doris E. Anderson Henry and Harlene Appelman Lillian Stevens Armstrong Michael and Kathleen Aznavorian Dr. and Leland Bartholomew Lawrence Berlin and Jean McPhail Dr. and Mrs. Rudolf G. Bickel Robert J. Bickett Mr. and Mrs. Duane A. Bingel John and Joy Bisaro Paul M. Bisaro Jerry and Dorothy Blackstone Thomas and Cathie Bloem Rebecca and Matthew Bright

Dr. Jane E. Brockman Robert and Lynn Browne Dr. Michael N. Bucci Mark and Barbara Buchanan Edward and Mary Cady Charles A. Carver III John and Barbara Castellana Mr. and Mrs. Samuel L. Chappell Mr. and Mrs. and Charles R. Reinhart ChevronTexaco Norman and Claudia Chmielewski Sang Y. Chun Bill and Laura Cohen Dr. Clifford and Katherine Cox Jon and Liz Cyganiak John and Shirley Daball Carole and Gerald Damon Judith and Jeffery Davis Mark and Paula DeBofsky Mark and Barbara Dentz Carol and Rick Detweiler Carolyn Dorfman and Gregory Gallick Dow Corning Corporation DTE Energy Foundation Rory and Marilyn Dunkel Gordon and Joan Elicker Mr. and Mrs. Douglas W. Elser Emerson Charitable Trust Michael and Deanna Ferrante Marcia and John Ficeli FirstEnergy Foundation Janet and Scott Fogler Mr. and Mrs. Michael D. Foley Richard J. Follett James and Lynnette Forman Ellen and Randall Frank William and Sabine Friedman Tamara and William Gage Barbara Galvin Paul M. Geddes Constantine and Ann Gianakaris Anne and Paul Glendon Steven and Christine Gosik Charlene and Thomas Gregory Tyrone D. Greive Ted and Dorene Grekowicz William and Martha Grimes Arnold and Merrie Hammel Mr. and Mrs. Frederick R. Hatch Charles S. Heftman Leslie and Richard Helppie Rose and John Henderson Constance and William Hensley Lisa and Scott Higley Tom and Myrna Hitchman Dr. Rebecca Sue Horvath Jewel F. Hunter Carol Neitlich Igoe Hampton and Marguerite Irwin Timothy M. Jackson Thomas C. Jones Andrew M. Jordan Dr. Phyllis R. Kaplan David and Caryl Kassoy Sam and Elaine Kennedy James Kibbie and Gary Christensen

John and Lisa Koegel Mark Steven Koehneke Anthony and Susan Konovaliv Barbara Hoddy Kulkis Richard LeSueur Gary Levenbach Lockheed Martin Corporation John Ludlow and Kathryn Davies Irwin and Fran Martin Luke Masselink Bob and Pat Materka Kris and Jody Matthew Patricia and Brian McCabe Peggy McCracken and Douglas Anderson David and Marise McNeeley Drs. Michael and Kathryn Mekaru Microsoft Corporation Michael R. Millhaem Chuck and Martha Moffett Mark and Mary Mordue Joan F. and Gerald J. Mrofka Allen Norris and Betty Plunkett Douglas R. North P & G Fund Marlena L. Pankowski Pauline Park and Jack Panitch Kenneth and Marie Pauwels John and Mary Pedley Helen A. Peters Karen and William Peterson Pharmacia Margaret Radin and Phillip Coonce Neila and Jeffrey Radtke Dr. Rudolph E. Reichert, Jr. Marc and Deborah Renner Robert and Denise Richter Noreen and Jack Rounick Mr. and Mrs. Larry D. Sanford John & Christine Litwin Sanguinetti Nancy L. Sannar Grace and William Schoedel Thomas and Maryellen Scott Timothy D. Sharpe Michael and Janet Shatusky Clifford and Ingrid Sheldon George and Gladys Shirley Carl and Jari Smith Jerry and Sharon K. Smith Norman and Glenna Spindelman Ellen L. Sporn Mr. and Mrs. John G. Sposito

Thomas and Gretchen Sweeny Marianne Swenson and John D’Alessandro Ann and John Syverson Dr. William W. Taylor J. Walter Thompson Co. William R. Tiffan Mr. and Mrs. Howard P. Toplansky University of Michigan Club of Downriver Daniel and Peggy Walter Felix H. Wang Eric and Thelma Waxman Anita and Dennis Werling Elaine and Benjamin Whiteley Marina and Bob Whitman James and Sandra Wilkins David L. Williams Alan and Emma Wright Marion S. Wyatt Darlene Kaplan and Stephen Zuckerman


Anonymous (3) Robert L. Acker Victor and Michelle Adamo Chris and Paula Anderson Dr. James M. Anthony David and Pamela Asher AT&T Foundation Dr. and Mrs. Robert Ause William and Patricia Austin Donald and Shirley Axon Denyse Nia R. Bagley BASF Corporation Robert H. Bellairs Frank and Valerie Bernacki Kathryn Cleaver Bisaro Stephen and Kelly Black Ronald and Mimi Bogdasarian Sandy and Jack Bonner Barbara and Ronald Broadley Frances C. Brockman Steven and Diane Budaj Suzanne and Harrel Burris Libbie and Steven Busch C. Robert Carson Paula and Daniel Cardelli David Carlson and Judy Tsou Caterpillar Foundation Anne M. Chase

Bruce and Lucille Chin Eileen and Jack Chisholm Thecla F. Chomicz Jill and M. Allen Chozen Russell L. Christopher Matthew and Christina Clapham Robert and Cynthia Conover Consumers Energy Foundation Paul and Laurie Cook William and Christine Cooper Miles and Margaret Cowdrey Mr. and Mrs. Speers M. Crumrine Mary C. Currie Dr. Robert I. Cutcher Robert and Joyce Damschroder Ronald E. Dean Porfirio and Sandra Delgado Trudy Cobb Dennard Harold J. Deutscher Kenneth and Judith DeWoskin Richard and Jo Ann Dionne Mr. and Mrs. Stephen B. Dobson Jean Dolega Kirk Donaldson and Kristin Guenther Dr. George Donoian Mark and Jo Anne Duffy Henry W. Dunbar Kelly A. Dyer Deborah and B. Hylton Early Eaton Charitable Fund Mary and John Eckman Edison International Steven L. Egler Alan Eisenberg Joanne Burke Eisler Patrick K. Elkins Randall and Jane Evans Karis and Randall Faust Bela and Janice Feher Anita and Eric Fereshetian Stephen Fisher and Anne Heacock Bruce and Laurie Fisher Stephen and Beverly Flannery Bonnie Fought and Jonathan Garber Janet and Erik Fredricksen Benjamin H. Freed Janet and David Fritsch Amb. Robert E. Fritts Susan Froelich and Richard Ingram Roger and Linda Geary Dr. and Mrs. Thomas D. Gelehrter Elizabeth and Geoff Gephart Dr. Timothy and Kathleen M. Gietzen Dr. and Mrs. Peter J. Gilbert Gary Glaze and Cynthia Munzer Howard and Viviana Gluckman Dennis and Debra Gmerek Barbara C. Gomez Kristen E. K. Goss Arthur Gottschalk and Shelley Johnson Cozette T. Grabb Pamela and Daniel Grantham Julius and Esther Grau Robert A. Green, M.D.

Fall 2011 47

$250-$499 (continued) Richard and Linda Greene Stacey Grimm Trudy and Robert Grimmer George E. Groehsl David and Frances Grossman Dr. and Mrs. Robert C. Gunn Marlys J. Hamill Herbert S. Hammond III William Haney, MD and Ann Marie Haney Charlotte Hanson James B. Harris, Jr. Dr. Susan R. Harris Dr. Richard Van Harrison Larry Hauptman Karen Hayes David and Mary Alice Helms Frederick A. Herbert Norman and Deborah Herbert Mr. and Mrs. Michael G. Heroy Betsy and Theodore Hershberg Dennis G. Hoffer Steven and Joellyn Holt Anne and Robert Holum Howard T. Howard William and Sarah Hufford Horace and Theresa Hull Raymond and Janice B. Ikola Mark and Kimberly Janich John F. Jeffrey Janet and Wallie Jeffries Martha W. Johnson Paul and Karen Johnson Thomas M. Jubb Christina and Nathan Judson Bob and Pat Kahn David L. Kane Kathleen W. Kane Naomi M. Kane, M.D. Joseph Kang Michael and Kimberly Kardasz Herbert E. Katz Philip T. Keil Robert and Jeri Anne Kelch Michael R. Kellermann Charles G. Kelly Ernest and Sally Kelly The Rev. Dr. and Mrs. James N. Kent Kerrytown Concert House Nancy A. Klein Janet and John Knapp Bonnie and Al Koch William H. Krebs, Ph.D. Kay Kuenker Steven J. Kushner Dr. and Mrs. J. Daniel Kutt Jean A. Lakin Phillip and Sue Landman Jerry and Mary Langenkamp Keith Latham and Lori Dostal Jeffrey R. Lee Paul and Ruth Lehman Max Lepler John and Kathy Levinson Wayne and Georgia Lindstrom

48 Michigan Muse

Jeremy Litt and Jennifer Kozel Oleg and Susan Lobanov-Rostovsky Jennifer S. Lowe Christine M. Loyer Charles E. and Amy S. Lund Robert and Martha MacDonald Shelley MacMillan and Gary Decker Edward and Roger Maki-Schramm Melvin and Jean Manis Dr. Thomas S. Markus Ann Martin and Russell Larson David and Nicole Martin Douglas J. Martin Robert A. Martin Eugene Mason and Maricela Alarcon Nancy Ann and John Mason Winifred Mayes Gary D. and Mary D. Maynard Dr. Marie F. McCarthy Michael P. McDonald Wilbert and Virginia McKeachie Dr. Allen S. Mehler Santosh and Anita Mehra Diane and Michael Mehringer Robert and Dorothy Metzger Thomas and Jeanette Meyer Joseph and Jean Middleton Jean Mientus Cynthia and Richard Miiller Dr. and Mrs. David L. Miller Kelly K. Miller Theodore and Jacqueline Miller David and Carol Mitchell Charlene R. Moehling Patrick J. Moriarty Elizabeth A. Morrison Edmund and Elizabeth Mueller Theodore J. Mueller Michael and Kimberly Muncie John and Nan Munn Martha Nelson Charles and Sharon Newman Thomas Nolan and Laura McTaggart Franklin C. Norman, M.D. Colin and Nancy Oatley Martin E. Obed Robert Ohlheiser, III Dr. Naomi J. Oliphant Dr. Walter S. Ormes

Abe Arthur Osser Steven Ovitsky Michael P. Parin Rebecca and Robert Peacock Nancy Perloff and Robert Lempert Bob and Pam Phillips Nancy S. Pickus Robert and Mary-Ann Pierce Juliet S. Pierson Lloyd and Carol Plantier Marsha Quebbeman Lawrence and Nancy Quinn Joshua and Nancy Reckord Susan H. Reinach Malverne Reinhart Sandra J. Rice Richard Frankel Productions, Inc. Bill and Joan Richards Linda and Richard Ridley William and Phyllis Robb Harold E. Robison Richard W. Roeckelein Robert A. Rosiek Matthew and Lorrie Russo Jeremy J. Schaefer Maureen Schafer and David Klerkx John and Mary Schippel Frederick and Diane Schmid Prof. and Mrs. Thomas J. Schriber Mr. and Mrs. Donald P. Schuessler Jonathan D. Shandell James and Elizabeth Sharpe Kay K. Shelemay, Ph.D. Ketaki Sircar Dr. and Mrs. Brooks Sitterley Nancy and Howard Slater Marilyn and Ted Sleder James S. Slosberg Eric and Wendy Slutzky Janet and Ralph Smith Robert Gray and Susan M. Smith Edwin James Snook E. Philip and Katharine Soper Fred S. Spindel Nina Sporn Michael and Dawna Steelman James M. Stephens Elizabeth and Donald Stern Donald and Elaine Stevenson Gary and Mary Straffon

Roger Gordon Stutesman James and Dorothy Symons Thomas D. Terpstra Richard and Kathryn Trim Akiko Uesaka Phyllis A. Valentine Mr. and Mrs. Charles H. Van Deusen Mark and Kate Van Sumeren Vicky Velich-Hamrick Kirt and Pamela Vener Mr. and Mrs. Thomas L. Verhake Brent Wagner Roger and Susan Waller Donna and Royal Ward Alan and Jean Weamer Dr. Robert L. Weaver John M. Weber James and Gloria Webley Sandra and Jeffrey Weintraub Elizabeth Whalley Edson A. Whipple Mary Ann Whipple Ben Whiteley Thomas and Ronna Whitten Dianne Widzinski and James Skupski Marguerite A. Winter Harvey and J. Greer Wolfson Ross and Debra Woodhams George and Doris Worden David Yanacek and Laura Grit Helen N. Young James and Gladys Young Beth and Robert Zelony


Anonymous (5) David and Rebecca Abel Carolyn and Ronald Abramovich Dr. and Mrs. Gerald D. Abrams Dr. and Mrs. Hanley N. Abramson Charles and Lori Adamek Donald S. Adamek M.E. Adams Tim and Leah Adams Barbara and Robert Agsten Kristin Ahlquist and David Kirn Christopher and Julie Aichler Mr. and Mrs. Robert T. Aitchison Sarah K. Albright Alcoa Foundation Seth G. Altman Dr. and Mrs. Martin E. Amundson Mr. and Mrs. Perry L. Anderson David and Catherine Andrea Michael T. Angell Robert E. Ankrom Roger Jacobi David and Jean Anthony Mary M. Appelt, M.D. Harold and Risa Aqua Lisa E. Armas Charlotte and R.J. Aseltine Drs. Deborah and Jeffrey Ash Carolyn Austin Frances Horne Avera

Louis L. Avitabile Elizabeth Axelson and Donald Regan John and Barbara Bacarella George E. Bacon James Baggett James N. Bagnall Robert and Katherine Baidel John R. Bailey Karin B. Baird Elaine R. Baker Janeen D. Baker Pamela and Dennis Baker Daniel and Barbara Balbach Jeremy and Linda Balmuth Fern R. Barber Sue Ellen Barber Barbara M. Barclay Dr. and Mrs. Maxwell B. Bardenstein Janice L. Barefoot Christina M. Barkel Burton V. and Lenora W. Barnes John and Janet Barnfather Martha E. Barnwell Thomas and Sandra Barrett William G. and Arlene M. Barris Sandra L. Barth Robert and Wanda Bartlett Brad and Lydia Bates Charles and Joanne Bath Gretchen Batra Anne and Richard Bauman Douglas and Beth Ann Bayda William S. Beaman Alfred R. Becker, Jr. Linda S. Becker Dr. David Orr Belcher Dr. and Mrs. Clarence A. Bell, Jr. William D. Bell Harry and Kathryn Benford Joseph and Nancy Benincasa William and Janet Benish Steven J. Benjamin June and Clyde Bennett Thomas and Jill Berglund Sharon E. Bernath Joan and William Berndt Douglas C. Bernstein Dr. and Mrs. Joshua Berrett Craig and Mary Bethune Roberta and Keith Beverly Stephen J. Bielaniec Jill and Paul Bielawski Laurie and Gregory Biggs Raymond and Wendy Biggs Eric and Doris Billes Raymond E. Bilter Gerald and Darlene Binder Joan A. Binkow Carol S. Bird Robert and Gail Bird Wallace S. Bjorke Martha A. Blake Tamar and Robert Bloomfield Charles and Nancy Bloser David Blum Gwen Blumenschein Karl and Cheryl Boelter

Juanita and Marc Boivin Janina and Christopher Bonwich C. Jane Book Mark and Mary Bookman Brian F. Boon William and Annlee Boonstra Dr. and Mrs. Morris Bornstein Dorothy J. Borst Gail and Glen Bowler Nancy and Bliss Bowman Ann Boyce George J. Brahos, M.D. Carl A. Brauer, Jr. Russell J. Braun Carolyn R. Brewer-Wallace Gerald and Marceline Bright Michael E. Brill Cantor Norman F. Brody Elaine and Jere Brophy Mary L. Broughton Alan S. Brown Carol and Baird Brown Charles S. Brown Craig and Laura Brown Gary and Diane Brown Lawrence and Beverly A. Brown Nancy Hallsten Brown Mr. and Mrs. Robert W. Brown Brenda Kee and Wayne Brown Stephen J. Bruce John and Mary Brueger Robert and Lorna Brumfield John L. Bryant Jeannine and Robert Buchanan Elizabeth Bunn Gina E. Bunts Thomas M. Burchman Florence B. Burden Constance and Dennis Burke James D. Butt Delois D. Byer Scott and Michell Byrd Sarah R. Cahuas David B. and Linda M. Calzone Susan and Oliver Cameron H.D. Cameron Thomas L. Capua, Sr. Brent L. and Valerie B. Carey William and Lois Carey Maura and Glenn Carlin Jennifer and Bradley Carlson John L. and Carolyn L. Carr Sandra and Thomas Carroll Mr. and Mrs. Robert L. Cary Dr. and Mrs. Conan J. Castle Kathleen A. Chalfant Craig R. Chamberlain Robert and Elspeth Chambers Henrique Chang Mr. and Mrs. Nicholas G. Chapekis, Sr. Idalene and Gil Chapman Jeannine and Stephen Chapman Mimi Chapman and Dietmar Wagner William Chapman and Michele Cherniga Patricia and George Chatas

Chevron Phillips Chemical Company Steven and Elizabeth Christensen Jill Chukerman Test and Thomas Test Mark Clague and Laura Jackson JoAnn and Roy Claps Dr. Thomas S. Clark Ardell H. Cleland Richard and Mary Coffey Alice S. Cohen Debra E. Cohn Charlene B. Colegrove Sharon Coleman Kenneth and Amy Colton Dr. Kathleen F. Conlin Patti Connery and Harvey Sackett Jay and Linda Connolly Jerre and Ross Conran Dr. Colleen M. Conway Eric and Patricia Cook Matthew A. Cooker Ronald Copes and Michelle Makarski James and Patricia Corden Deborah Corman Joanna and Richard Cortright Thomas and Sue Costaras Dr. Diane L. Cottrell John and Rosalyn Coury Julie and John Covach Janice H. Cowan Lois Wilson-Crabtree Dr. Clifford and Laura Craig Mr. and Mrs. J. Sterling Crandall Thomas and Maria Cranmer Prof. and Mrs. C. Merle Crawford JoAnn and Frank Crawford Julie and John Crispin Daniel W. Crofoot Garet N. Crosby Jean C. Crump Theora and Thomas Cultice Benjamin R. Culver Dr. Michael G. Cunningham Robert W. Curtis Michael and Mary Dalessandro Peter and Jennie Dalton Constance J. D’Amato Malcolm and Kay Danforth Laura Dann and Franklin Kaiman Janet Fasse Davis and James Davis Dr. and Mrs. Robert E. Davis Sheldon Davis Robert and Barbara Ream Debrodt Marie E. Deem Carolyn and Terry Deibel Maj. Eric F. Delage Joyce E. Delamarter James and Janet Delaney Jerry DePuit Delta Air Lines Foundation Eric A. Delzer Roger and Gloria DeMeritt Karen A. DeMol Timothy S. Demske Carol R. Dennis Dr. and Mrs. Francisco Deogracias

Elizabeth B. Dexter Michael H. Dicker Joan Dickson Tuyen Diep Albert R. Dilley Xiao-Li Ding Delbert Dean Disselhorst William K. Dole Sharon Lee Dolega Stephen and Ann Donawick Carol and Dennis Dooley Helen and Gary Dosik Donald J. Doskey Jeffrey J. Douma Kathleen and Daniel Dow Karl Drehobl M.D. and Amy Alpert John and Mary Dresser Lillian G. Drury Jeannette Duane and Douglas Shapiro Peter C. DuBeau Peter A. Dubois James R. Duey Mr. and Mrs. Donald E. Dufek Sharon and Gary DuLong Dr. Charles H. Duncan Connie R. Dunlap Warren and Elaine Dwight Dr. and Mrs. Franklin E. Dybdahl Joseph and Debbie Eagen Edward Oliva Lisa Eichler and Stephen Crump Michele Eickholt and Lee Green Mr. and Mrs. Charles R. Eisendrath Peter T. Ekstrom The Honorable and Mrs. S.J. Elden Eleanor G. Voldrich Elizabeth A. Monastero David G. Elliott Dr. Charles and Julie Ellis Mr. and Mrs. Sheldon M. Ellis Bayard Warren Elmer James and Joan Emerson Niels and Suzy Engleberg Sharon Erickson Nelson and Martha Ernest Janet Ann Evans Lynn and Janice Evans Jeffrey and Elizabeth Everett Thomas and Cynthia Ewing Daniel Fulton Fantore Ann and Robert Farrington Mr. and Mrs. Charles J. Farris Margaret and John Faulkner Joseph and Michele Ann Fazio Phyllis and Phillip Fellin Ramona Fernandez and Donald Barry Julie and Paul Ferries Robert M. Ferris Martha and Lewis Fickett Geri A. Fields Margaret A. Fillion Richard and Carol Ann Fisher Karen and Charles Flachs Alison Flatau William and Pamela Flom Beverly and Gordon Flynn

Fall 2011 49

$100-$249 (continued) Christine C. Folaron Dr. Richard A. Foley Rachel and Terry Ford Richard and Virginia Forrestel John D. Forster Gregory and Kathy Forzley Millicent V. Foss Malcolm and Marilyn Foster Mr. and Mrs. Claude A. Fouse M. Beatrice and William Fox Derek and Pamela Francis Carole Strait and Douglas Franklin Alan and Karen L. Franson Martha Frey and Robert T. Collins Marilyn L. Friedman Louise F. Frost Dr. and Mrs. James E. Frounfelter Lela J. Fuester Ronald and Valerie Fuller Dr. E. Ann Gabriel Dr. and Mrs. Edward J. Gainer Enid H. Galler Kevin J. Garry William and Linette Garton Olga M. Gazda Lois and Joseph Gdowski Janice R. Geddes Steve and Karen Geiringer Dr. Herbert G. Geisler, Jr. Gordon and Connie George Kevin and Gina Geraldi Steven and Joyce Gerber Peter and Patricia Gerondeau Michael Gerstenberger Beth Wilkinson Giacobassi Ronald Gibala and Janice Grichor Cheryl and N. Gibbs Dr. and Mrs. Gary Gillespie J. Martin Gillespie, Jr. Tara M. Gillespie Susan and Alan Gillmor Harlan R. Gilmore Sheldon Ginns and Marian Cohen Philip H. Giroux Dr. and Mrs. James Glinski Dr. and Mrs. Martin E. Gluckstein Mr. and Mrs. Thomas E. Goettsche Barbara and Howard Goldman Edward and Mona Goldman Arturo R. Gonzalez Gordon S. Good Richard and Linda Goodenough John and Susan Goodrich Mya L. Gosling Louise L. Goss Kelly D. Gottschalk Amy and Darrin Gourlay Dana and James Gramprie Ellen and Wallace Grant Susan Gratch and Patrick Gleason Jason Grauch Robert Greenberger and Renee Durbin Mamie L. Greene Emery and Theodora Greenwald Richard D. Greer, Jr.

50 Michigan Muse

William Gregg and Carol Anderson-Gregg Sonja and Mohinder Grewal Robert and Irita Grierson Marian N. Grossman Kenneth and Vivian Gudan Peter and Virginia Gustafson Laurel Gutterman Mabeth and Richard Gyllstrom Peter Haag and Deborah Brown Carol E. Haas Don Haefner and Cynthia Stewart Robert and Karen Hahn Alice Berberian Haidostian Jay and Margery Haite Dr. and Mrs. Robert M. Hale Barbara L. Hall Donald and Lorraine Haller Anthony J. Halloin Judith Huber Halseth, Ed.D. Margo Halsted and Peter LeSourd David and Sis Hamilton John and Janet Hamilton Patricia and Frederick Hamilton Dr. and Mrs. Ernest M. Hammel James and Jean Hammond Charlene and Walton Hancock Kyle and Sarah Hancock Sarah M. Hancock Dr. and Mrs. William C. Handorf Grace H. Hanninen Catherine Harper and Roy Winnick Mr. and Mrs. Donald R. Harrell Linda and Skip Harrington Katherine and Tyrell Harris Mimi Harris Steven Harris and Barbara Bruno Gregory and Theresa Harrison William and Kristine Hartl Avis Lowery Harvey Richard and Marilyn Harvey David and Leslie Harwood Lenore Sherman Hatfield James and Roberta Hause D. Craig Hausman and Holly Heaviland Janice and Jeffrey Hausman Thomas and Alice Haverbush Iris and Alan Havrilla Jeffrey Heath Kenneth H. Hebenstreit Helen E. Heel Nancy and Wendel Heers Mary and Rodger Heglar Dr. Clinton L. Heimbach Gary C. Heitman Alyce and Dennis Helfman Sylvia and Ted Hellums Douglas Henry and Dara Elterman Henry Margaret and Jan Herbst Robert and Patricia Herrema Marion Phebe Herrington Joseph Herter and Grazyna Skowron-Herter Dr. and Mrs. Keith Heslinger Milton and Julie Hess Hewitt Associates

Martha L. Hickel Thomas and Helen Higby Mr. and Mrs. Gary W. Hill Amy Reavis Hindson Prof. Peter G. Hinman Marlane Paxson Fairleigh Hodges Kathleen J. Hoff Janice and Ronald Hoffman Amy Lynn Hofing Doris Jean Holbrook Dr. Larry N. Holcomb Patricia and Daniel Holland Dave and Patricia Holman Catherine and James Holt Gregory and Julia Holt Mark A. Holtzer Michael G. Holz Karen Smith Homsher Garabed and Brooke Hoplamazian Ronit and Hayden Horowitz David and Susan Horvath Cheryl and Steven Howell John Howell and Charlotte Morris Dr. and Mrs. L. Rowell Huesmann Ruth and Harry Huff David and Carol Huiskens Dr. Ralph M. Hulett Dr. Ann D. Hungerman Jane E. Hunter Mr. and Mrs. Thomas C. Irwin Karen and Andrew Isble Tanya and Jerold Israel John M. and Jean Jabe John and Hoa Jacisin Elaine and Emil Jackinchuk Kenneth and Elizabeth Jacobs Bruce and Leonor Jacobson Harold K. Jacobson Daniel Jay Jaffe David H. Jaffe Dr. and Mrs. Mark J. Jaffe Mary Jakub and Mark Katz Belle Janiszewski Dr. Thomas Janson Dwain and Christine Jansson Michelle L. Jaster Dr. Warren W. Jaworski John I. Jay Prof. Jerome M. Jelinek Jerry R. Jelsema Dr. and Mrs. Douglas W. Jenkins Stardust K. Johnson Thomas G. Johnson Johnson Controls Foundation Linda and Stephan Jones Dr. Marilyn S. Jones Terese and Thomas Jozwiak Charles and Judith Judge Michael R. Julien Carla and Martin Kaatz Fritz and Monica Kaenzig Douglas and Jean Kahl Robert and Beatrice Kahn Mr. and Mrs. David M. Kalember Dr. and Mrs. Peter T. Kan Prof. and Mrs. Gordon Kane H. David Kaplan

Olivia Maynard and S. Olof Karlstrom David and Jennifer Karnak James and Jill Kaufman Michael J. Kaye Elizabeth J. Keller Charles A. Kelly Laurel Ann Kendall, P.E. Ruth and Dennis Kenny Dawn and Steven Kerr Dr. George and Helen Mendelson Kerwin Luise and Frederick Kienzle John and Georgie Kincaid Allen F. Kindt Lucinda Kip Christopher and Nicola Kiver The Rev. Dr. Carl M. Kleis Hermine Roby Klingler Drs. William Klykylo & Dorothyann Feldis Betty Jo Kolb Robert and Maureen Kraemer Paul and Karen Krajewski Dr. Gale R. Kramer Pamela and Robert Kramer Stuart and Marlane Krane William and Claudia Kretzschmar Samuel and Marilyn Krimm Paul H. Kubitskey Jeffrey and Kelly Kurburski Robert Kyes and Dagmar Moore Kenneth and Maria Laberteaux Geoffrey and Barbara Laham John and Margaret Laird Guido Marcus Lamell Susan and Timothy Lamothe Aldis and Susan Lapins John and Linda Larin Bruce D. Larkin Robert Larm Myra A. Larson, Ph.D. Patricia M. Larson Peter M. Larson Jerold and Judith Lax Donna A. Leclair Lisa and Jeffrey Lee Steven Lentz and Patricia Perrine Diane M. Leone Sandy and Donald Leopold Linda Leslie Mirtha S. Leslie Alicia and Louis Lessard K. Thomas and Brenda B. Lester Shwu and Yuk Leung Constance and Leon Level Myron and Bobbie Levine Dorothy Hall Lewis Margaret and Robert Lewis Katherine K. Light Dorothy Lim Emilie L. Lin Wayne A. Linder Janet and Philip Lineer Susan R. Livingston Miranda F. Lockhart Dr. Louis E. Loeb Betty and Lennart Lofstrom

Eric London and Sheila Wisely-London E. Daniel and Kay Long Earl W. Long Dr. Kathryn Louise Long Linda and R. Kenneth Long Leslie and Susan Loomans Colonel and Mrs. Carl W. Lord Alan C. Lounsbury Charles C. Lowrie Sandra E. Loyer Russell E. Lucas Barrett and Kathryn Ludlow Frederick and Barbara Ludwig Marjory S. Luther Rosemary E. Lutz Christopher and Ellen Lynch Howard and Nancy Macaluso Robert and Katherine MacMillan Gregg and Merilee Magnuson Pamela Maker and Chris Benson Brian and Nancy Malone Dr. and Mrs. James B. Mammel Ronald P. Mandernach John and Joan Mangels Michael and Deborah Manley Robert and Judith Marans Prof. Milan Marich, Jr. Michael L. Mark Dr. and Mrs. Edward W. Markward W. Harry Marsden June and Robert Marshall Christine Ragonetti Martin Mr. and Mrs. Terence B. Martin Margaret Martin Mr. and Mrs. William C. Martin Richard R. Martinson Mr. and Mrs. Charles F. Martyn Steven and Jennifer Mather Marleta Hill Matheson Michael K. Mathews Dr. Malinda M. Matney Mr. and Mrs. James I. Mauser Olivia Maynard and S. Olof Karlstrom Dr. Lisa Mazzia N. Harris and Margaret McClamroch Joy McClendon and Jeffrey Lee Lon and Marian McCollum Joan and Harry McCreary Drs. Richard and Linda McGowan Paula and Kevin McGrath Michael and Josephine McLennan Robert and Sarah McNaughton William and Marilyn McNitt Dr. Albert J. McQueen Michael K. McStraw Robert L. McVean Meneve Dunham Robert M. Merkin William E. Merritt, Jr. Herman and Bernice Merte Dr. Scott Messing MetLife Foundation William and Shirley Meyers Judith and Thomas Mich Susan E. Michaud

Dale and Patti Mietla Joann and Thomas Miller Myrna and Newell Miller Norman S. Miller, M.D. Peter Miller and Dianne Rucinski Theodore and Virginia Miller Timothy and Jenifer Miller Diana K. Min Mr. and Mrs. William S. Mitchell William Moersch Lynn Moffat Prof. John D. Mohler Edith O. Moller Jeremy J. Mollison Ira Mont Nelson and Mary Moore Kittie Berger Morelock Marilyn K. Morgan Charlotte Morris and John Howell William Bolcom and Joan Morris Dr. Myron D. Moss Zachary and Judith Moushegian Marjorie Mowrer Hemphill Gary and Carol Muehlig Walter Mugdan and Vivienne Lenk Kathryn Mulholland and Bruce Flynn Ruth E. Muntis Ruth E. Munzel Mr. and Mrs. Robert T. Murphy Dr. David E. Myers Fernando Leon and Marian Naessens-Leon Sue Nagel Lynn and Joseph Naoum Michael and Sylvia Nascimben David L. Nast Nancy Naszradi Bernard and Paz Naylor David and Madelyn Neely Laura Jean Neher Robert and Evelyn Nelson Jacqueline and Scott Nelsund Pam Nesbitt-Reau and Steven Reau Tom and Greta Newhof Jonathon P. Niemczak Bruce and Connie Niethammer

David Nix and Ellen Wheeler Joan Fyock Norris and Philip Norris John and Sylvia Northrup Mr. and Mrs. Frederic Nott Morton Noveck Joseph R. Novosel Dr. Douglas A. O’Handley Gary and Jari O’Hara Melissa H. Olken, M.D., Ph.D. Donna and Thomas Olkowski Joan Olsen Leo and Justine Kulka Patricia A. Onelio Harry T. Ong E. Fred Ormand and Julia Broxholm Wendell E. Orr Dr. and Mrs. Mark B. Orringer Acton and Janet Ostling Susan and Keith Ostoin Norman and Charlotte Otto Dr. Mary Kathryn Oyer Michael and Kathy Paivinen Robert E. and Susan E. Paletz Sarah and C. Michael Palmer Terry and Jean Paquet David and Rebecca Parker Janet L. Parker Robert and Paula Parker Kristina D. Pasko, J.D. Robert and Linda Patek Stephen F. Paternel, Jr. James Aris Patterson Henry Paulson and Sarah Buss Dr. Walter M. Pavasaris PCS Administration (USA) Inc. Bradley and Linda Peacock Frank and Louise Pearson Robert E. Pearson Mr. and Mrs. Lawrence D. Peck Douglas and Carole Peck Kristen Pellegrino Dr. Donald C. Pelz The Honorable Steven D. Pepe Mildred Stern Perlow Perry G. Pernicano, M.D. Louis and Connie Perretta Dr. and Mrs. Fred J. Pesetsky Diane C. Pesha Jerome P. and Marianne H. Pesick Jeremy J. Peters Richard and Elaine Peters David and Roberta Peterson Carl and Dianne Philpott Albert and Louisa Pieper James J. Piper Joellen Bonham Piskitel Drs. Bertram and Elaine Pitt Lawrence J. Pocza James R. Pollock Leslie and Erik Polsen Constance Gilbertson Porter Mary and Robert Potter Joan Arlene Poulos Suzanne and Sinclair Powell Barry K. and Yolan M. Powell Eva Jablonowski Powers Rhoda and Edward Powsner

Premier Radiology Services, Inc. Premier, Inc. Jerry and Lorna Prescott Alan and Pat Price John and Nancy Prince Principal Financial Group Foundation David and Stephanie Pyne Gregory Warren Quick Janice M. Quist James R. and Mary C. Randolph Robert L. Randolph Nancy Jackson and Randall Ransom Michael D. Reed Russell and Nancy Reed Ronald and Susan Reeves Dr. Randolph E. Regal Gene and Harry J. Regenstreif Mr. and Mrs. Donald S. Remsen Edwin and Joanne Rennell Charles B. Reuland Dr. and Mrs. Harley E. Rex Ralph E. Rexroat Michael and Marjorie Reynolds Dr. and Mrs. Richard D. Richards Jayson and Heather Richert Margaret and Jack Ricketts Mr. and Mrs. Nooraldeen Ridha Dr. and Mrs. Gerald and Gertrude Rigg Rosemarie Rinaldo Barbara Ritter Donald K. Ritter Dennis J. Rivard Christopher and Colette Rizik Raymond and Barbara Robins Donald Carl Robinson Carla-Maria T. Rodrigues Sherry Root Edie and Richard Rosenfeld Laura Ann Ross Dr. and Mrs. Thomas W. Rowland Henry E. Rozwadowski John and Karlyn Rudd Robert Lynn Rudnick John A. Rutherford Sally Rutzky and Helmut Bertrand Patricia A. Ryan Ralph and Kathryn Safford Michael and Linda Sahn Alicia and George Salinas Wilma R. Salisbury Edwin and Jean Samuelsen Steven and Lisa Sands John and Reda Santinga Shelley and Gregory Sapick Mr. and Mrs. David W. Satterley Robert and Kathleen Savit Albert and Jane Sayed Charles F. Schaefer II Bonnie R. Schafer Hon. and Mrs. George Schankler Mr. and Mrs. Karl Schettenhelm, Jr. Yvonne W. Schilla David W. Schmidt, M.D. Dr. Dennis Paul Schmidt Inga and Courtland Schmidt

Fall 2011 51

$100-$249 (continued) Carl V. Schmult, Jr. Arnold Schneider and Marie Bammer Jack and Jean Schneider Janet and Michael Schneider Dr. David J. Schober Jean C. Scholl Dr. Larry B. Schou Mr. and Mrs. Brian Schrag Gertrude Schreiber Susan Schreiber and Andrew Nagy Helena Schuford Jay and Leah Schultz Lois C. Schwartz Michael and Sandra Schwarz Marilyn Kuperman Scott Janet C. Sell Mary Ann Sellers Carol F. Senneff Kenneth H. Senteney Leo H. Settler, Jr. Mr. and Mrs. Robert E. Seymour Sanford Philip Shatz Timothy Sheena Samantha Shelton and Andre Marusich Rosalie Sherman Thomas and Mary Shields Richard Shubart and Ellen Silverman Dr. and Mrs. Scott C. Shuler Pamela Hotard Shultz Richard D. Shuma Raymond and Marylin Shuster Anne and Martin Sichel Amanda K. Siegel Barry and Karen Siegel Chester and Marilyn Siembor C. Miller and Judith Sigmon Dr. Mary H. Simoni Dr. Edward Roy Sims Kathleen M. Singer Uldis Sipols and Sandra Kronitis-Sipols Nina J. Skaya Robert Slayton and Susan West Donald Sloan and Renee Jackson Patricia Ann Small Mr. and Mrs. John R. Smalter Julie and William Smigielski Alan L. Smith David and Susan Smith David C. Smith Mr. and Mrs. Thomas W. Smith Peter W. Smith Richard L. Smith Mr. and Mrs. Radley M. Smith Prof. Sherri A. Smith William and Marcie Smith Henry Smithies Dominic and Beverly So Kenneth and Julie Sobolewski R. Thomas and Elinore Sommerfeld Sandra L. Sorini Elser Kathryn E. Sovie Robert and Karen Sowislo Jennifer and Gary Speck Seldon and Charles Speers

52 Michigan Muse

Jerry and Shirley Spence Sharon and Andrew Spilkin Joan Patrick Stafford Dr. and Mrs. Robert G. Stakenas Dr. Alan E. Stanek Thad Charles Stanford, M.D. Joan Stark and Malcolm Lowther Sandra L. Stauffer William B. Stegath, Ph.D. Craig H. Stephan Dr. Erma F. Stevens Judith and Robert Stiber James and Roberta Stimac Jeff and Sally Stommen Mr. and Mrs. Robert F. Stoner Mr. and Mrs. John J. Stouffer Jessica and Shawn Strand Kathleen Strang Jane and Bill Streb Frederick Craig Stroup Dr. David and Karen Stutz Dr. Vernett Sublett Smith Nancy Bielby Sudia Gretchen S. Suhre Dr. and Mrs. Norman Sunderman Arthur C. Superko Stephen L. Surdu Ian Woollen and Susan Swaney Dr. Warren C. Swindell Guat and Dionisia Sy Mary E. Takeda Donna W. Tappe Louise Taylor Mary D. Teal Bonnie and Charlie Tedder Anne and Vito Tenerelli Sue Malone Terranova George and Mary Tewksbury Paul and Kristine Theisen Vicky J. Theisen James and Carol Thiry Duane Thomas and Judith Lobato Ann Thomas Maddox and Clark Maddox Anna and Douglass Thompson Christopher Gage Thompson Dr. and Mrs. George R. Thompson Charles J. Thor Kathryn and Jeffrey Timm Jane and William Tindall Mary and Joseph Toboni Linda and Peter Tolias John K. Tomlinson Jacqueline Tonks Martha Topol and David Kirby Dr. David G. Tovey Tam T. Tran Wesley and Marilyn True Mark and Mary Tucker David C. Turner Jamie and Deborah Turner David Ufer and Karen Lena Ufer Alvan and Katharine Uhle Lucy L. Underwood Karen and Amand Uomoleale Linda L. Upton Edmund B. Ura

Van Buren Police Officers Association Kathleen and Paul Van Den Brink William and Jan Vandenburg Mr. and Mrs. Stuart S. Vanderheide Dr. and Mrs. Hugo L. Vandersypen Donald and Lea VanEvery Alveris B. Van Fleet-Corson Henry R. VanKuiken Marcia and Mark Van Oyen Virginia O. Vass Marry Vaughan Joyce N. Verhaar Alex and Maria Verna Timothy Bert Vesey Frederic J. Vipond Marie B. Vogt John and Susan Wacksmuth Raymond and Nancy Waggoner Dr. James H. Wagner Kim and Sandra Wahtera Dr. and Mrs. Fred E. Walker, Jr. Jane Walters Katherine A. Walton Tom and Mary Jo Walworth Susan and Jim Wanserski Gregory and Cindy Ward Mr. and Mrs. Eric D. Warden Anne C. Warehime Elizabeth and Dana Warehime Dorothy Watkins Frank and Edna Watts Robin J. Wax Dr. and Mrs. Jack I. Wayne Dr. William Webb and Dr. Jean Gaymer John W. Webster Mary Linda Webster Dian and Timothy Weddle Michelle L. Weger Laurence and Evelyn Wegienka Nicholas and Carol Weil Mary Weil Barranger Elise I. Weisbach Dr. Frederick R. Weldy Michael Wellman and Erika Homann Wells Fargo Foundation Richard and Carol Wentzel Carol Weyand Emma L. Weyer Tom and Jean Wheaton Mary and James White Jane and William Wiciak David and Kristie Wiggert Nancy and Richard Wigginton Mr. and Mrs. Robert D. Wiles Dennis B. Wilfred J. Norman and Dorothy Wilkinson Carl and Beth Williams Mr. and Mrs. Donald A. Williams Elizabeth A. Williams George and Ruth Williams John Williams and Diane Pierce-Williams Geraldine and Bruce Wilson Patricia and John Wilson Robert and Judith Wilson Paul R. Winberg Kay and Verne Brown

Albert and Karen Wirth Karen and Douglas Hollingsworth Linda Larson Witchie Matthew B. Witten Mark and Nancy Wollenweber Wynne Stevens Wood Peter and Rosa Maria Woodhams Mary Alice Wotring Anne V. and Donald E. Wright Susan and Paul Wuest Roger I. Wykes II Heather-Lee and Christopher Wysong Xerox Foundation Carol and Gregory Yarrington Janet and Perry Yaw Dr. and Mrs. Hanley J. Yoffee Jesse D. Young Avis and Peter Yount Gary and Mary Youra Debra Yurenka and Jason Perlioni Matthew D. Zerbel Wanda E. Zissis

Under $100

1,216 gifts totalling $47,332

Gifts-in-Kind over $100

Anonymous George E. Bacon Jeffrey E. Barudin James A. Brescoll Penelope B. Crawford James B. Harris, Jr. Ruth Latham Bruce A. Manny Mildred Ostrowsky Becky Shrive Frances U. Simonds Thad Charles Stanford, M.D. Jeannette M. Stover Sarah Towne Hufford Margene Wagstaff Zelma H. Weisfeld

Planned Gifts Richard Bowman Donald D’Angelo Bruce and Karen Galbraith Richard and Peggy Gaskill James Kershner Harold Newland Duane Thomas Susan and Roger Waller




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Michigan Muse - Fall 2011  

Alumni magazine for the University of Michigan's School of Music, Theatre & Dance

Michigan Muse - Fall 2011  

Alumni magazine for the University of Michigan's School of Music, Theatre & Dance