Thefolluwinl: is 11 partial lid uf iominl: eve~lts or the School oiMusic. For marc information, call our Community Relations Ofjce weekdays at 346-5678. SEPTEMBER Sept. 28 -Barbara Baird, Organ (Faculty Artist Series) OCTOBER Oct. 2 -Karol Bennett, Soprano John McDonald, Piano (Vanguard Series) Oct. 10 -Kathryn Lucktenberg, Violin Barbara GonzPez-Palmer, Piano (Faculty Artist Series) Oct. 4 -North Indian Flute Music (World Music Series) Oct. 20 -Homecoming Concert Oct. 21 -Alumni Band (Football Game) Oct. 22 - Guarneri String Quartet with Victor Steinhardt, Piano (Chamber Music Series) Oct. 24 -Danish Boys Choir (Guest Ensemble) Oct. 25 -Anne Tedards, Soprano Mark Van Scheeuwijck, Baroque Cello (Faculty Artist Series) Oct. 26 -University Singers Oct. 27 -Jazz Combos Oct. 28 -Tuba Terrific! (Children's Concert Series) Oct. 31 -Philip Glass Lecture NOVEMBER Nov. 2 - Opera Workshop Ensemble Nov. 7 - Composers Forum Concert Nov. 9 -The Petersen Quartet (Chamber Music Series) Nov. 11 -Festival of Bands Nov. 11 -South of the Border (Children's Concert Series) Nov. 14 - Steven,Pologe, Cello Dean Kramer, Piano (Faculty Artist Series) Nov. 15 - Oregon Wind Ensemble Nov. 16 -University Gospel Ensemble Nov. 17 -Bones & Brass Nov. 17,18 -Janet Towner, Dance Nov. 18 -Viola Conference Nov. 20 -Claire Wachter, Piano (Faculty Artist Series) Nov. 21 -Oregon Percussion Ensemble Nov. 28 - Collegium Musicum Nov. 28 -Future Music Oregon Nov. 29 - Campus Band Nov. 30 -University Symphony DECEMBER Dec. 1 - Oregon Jazz Ensemble Dec. 3 -Oregon Handbell Choir Dec. 3 -University Percussion Ensemble Dee. 3 - Christmas Program School of Music & Department of Dance 1225 University of Oregon Eugene, OR 97403-1225 Forward and Address Correction Nonprofit Organization US. Postage PAID Eugene, Oregon Permit No. 63 and DEPARTMENT of DANCE Newsletter for Alumni & Friends August, 1995 Vol. VII, No. 2 At the University of Oregon, you get it all: the natural beauty and quality of life in Oregon 's Willamette Valley, a multitude of performance opportunities, and a superb music faculty to nurture your talent and prepare you for a successftrl career. - --f - hlCSIC DEGREES AT THE Special Visitation Day at USIVERSITY OF OREGON: UO School of Music: ti.\., B.S. in ~~LISIC Saturday, hov. 11,1995 13.\l. in l'crimn8ncc B 11. in Compns~tiun Dates and locations for 13.M. in \lu>ic tduc,~tion 1996 Auditions: B.M. In i\luiii Th6ury January 18, I(l9b-Seattlr, WA l3.\1. ~n !%u~die~ January 19, 1996-l'orrland, 011 B.S.. dptiun In Music Tcchnolugy January 3h,lW6-F.ugcnc, OR February 23,1996-hp,enc, OR \I.,\., hl \I. in \lusicllistory Scholarships and graduate teaching fellowships are available, based on application and admission audition. Deadline for Music Scholarship Application: March 1,1996 For further information, contact: Office of Admissions School of Music 1225 University of Oregon Eugene, OR 97403-1225 or call: (503) 346-1164 M.A., M.M. in Music Theory M.M. in Composition M.M. in Music Education M.M. in Performance M.M. in Conducting M.M. in Piano Pedagogy D.M.A., Ph.D. in Music Ed D.M.A., Ph.D. in Composition D.M.A. in Performance Ph.D. in Music History Ph.D. in Music Theory The University of Oregon is an equal opportunity, nfjiriilntiiic octio~i iristitritiu~l cmiirnitted to cultural diversitu and comvliance with tilc Airwicn~is loitli Disiibilitie Act. LEDGER is the official newsletter of the University of Oregon School of Music and Department of Dance, and is published twice a year for alumni, faculty, and friends of the school. Your comments are always welcome. \ Address all correspondence to: LEDGER LINES School of Music 1225 University of Oregon Eugene, OR 97403-1225 or call (503) 346-3761. DEAN: Anne Dhu McLucas I ASSOCIATE DEAN: Gary Martin i DEVELOPMENT STAFF: Joan Gardner-School of Music ! Peggy Renkert-Oregon Bach Festival I EDITOR: Scott Barkhurst I I CONTRIBUTORS: George Evano, Joan Gardner, Robert Kyr, Mark Levy, Anne Dhu McLucas, Karen Pederson ASSISTANT: Karen Pederson COVER PHOTO by Ray Arkin. Enthusiastic youngsters andparents get up close andpersonal with the Unicorn following apefonnance of Menotti's The Unicorn, the Gorgon, and the Manticore. UO students peformed the work three times, with choreography by Lisa Arkin. The University of Oregon is an equal ! opportunity, afirmative action institution committed to cultural diversity i and compliance with the 1 Americans with Disabilities Act. The Dean's Desk Anne Dhu McLucas, Dean It has been three years since I wrote my first letter for Ledger Lines, and as I look out over the lawn toward the Pioneer Cemetery from my office window, I am pleased to note the changes in both myself and the School of Music. Among the things I can see from my office are the newly-painted back of the building-part of a slow and painstaking process of physical upgrading that we are undergo- ing, so that the appearance of the school will better mirror its musical and academic excellence. Not visible from here, but equally important, is the madual transfor- I -. A - mation of the former Bach Festival offices into faculty, teaching, and computer lab space, and the upgrading of some of our older classrooms by adding fans, shades, new chairs, etc. Most important-and most difficult-we are trying to make space available for more practice rooms and to refurbish the present ones with better instruments. All of this costs money, of course, and we are grateful that alumni and friends continue to remember us with their annual donations, as well as in bequests and in substantial gifts. We are particularly blessed this year with the bequest of the Zoe L. Fischer Estate to the Dean's Dis- cretionary Fund, and with the continuation of the Richards family donation. In addi- tion, the memory of Dean Emeritus Robert Trotter has been honored with an endowed fund from friends, colleagues, and rela- tives. That fund was given a substantial initial boost by the munificent contribution of Courtney Sales Ross, which was then matched by a state grant, all of which will help expand the presence of world music at the school. Our recently hired Develop- ment Officer, Joan Gardner, will be work- ing closely with me in our fundraising. For a more complete introduction to Joan, see page 13. Change is inevitable, and this year we took steps to initiate changes that will have long-lasting effects for the school. In an all-day retreat held in February, the music and dance faculty disc+sed the strategic steps we want to take to move the school into the 21st century. With lively discussion centering on the difficult job of balancing the needs of being a comprehen- sive School of Music with those of offer- ing the highest standards of excellence to our students, we came up with a series of task forces that have started the process of affecting the changes that will be neces- sary to serve the students of 2001 and beyond. I am meeting with small groups of faculty, trying to come up with the most creative ways of accomplishing new initia- tives without abandoning the old ones that work. This takes patience and creativity, but progress is being made. Among the new curricular changes that will be seen this academic year are the jazz studies major for undergraduates and the new B.S. option in music technology. In addition, we'll continue to expand the B.A. in His- tory and Literature to accommodate stu- dents interested in music who wish to be in a non-performance degree program. Future critics, historians, connoisseurs, and manageis of music will now find a place to learn at the University of Oregon. For me personally, the past three years have brought the opportunity to live an old childhood dream: to be a practicing musi- cian and teacher of music, but be close enough to the mountains that I could also ski and climb. Oregon affords that and visits to the beautiful coast as well. I feel fortunate to be here and am ready to con- tinue the process of leading the school into the next century. Rose Bowl Afterglow The Oregon Marching Band and director Rod Harkins received lots offhn mail following their appearance at the Rose Bowl; the following are excerpts from some of the letters ... Director of Bands: Along with many alumni, I'm watch- ing the Rose Parade, hope to catch half- ' time, and may even watch some football- or take a nap! Of course, my mind has wandere back to 1958, only to discover that annoyed that we women, who had fully sloshed around a muddy foot for all of our undergraduate years, been left home on Rose Bowl excuses given were 1) we loo in the uniforms, 2) the Midwest bands didn't have women, 3) we probably too whimpy ... We didn't take the news quiet1 ever, and staged a protest, with the h all people!) of Dr. Nye. Ira Lee took disruption of his rehearsal with good na ture. Robert Vagner, on the other hand, wouldn't speak to us for weeks! Ira in- sisted that "time heals all wounds," and actually left the altered sign we gave him on his desk for some time. We had changed it to "Time wounds all heels." Well, it was an interesting time. There are some funny stories involved in the whole mess. The School of Music has come a long way and it's difficult to understand how today's student has gotten so much better than we were. Part of that was put in perspeclivc by a friend who reminded me that she had studied French horn with a trombonist and I'd studied bassoon with a clarinetist. And today, I'm filled with B.Mns. 1958 P.S. Am I still the only ha , . ,, ,< . , ,. Dear Rod: The band was spectacular! I write to thank you, all your staff, and all the band members for an absolutely outstanding job at the Rose Bowl. You were every- where, and you were wonderful. There are those who say that without the band the Rose Bowl is just a football The Oregon Marching Band at one of the nzcq Rose Bowl pep rallies game and, as a former hand member, I am inclined to agree. And though it was a wonderful football game of which all of us are proud, the Rose Bowl was also a won- derful showcase for a fabulous hand (that looked terrific in new uniforms!). All of you added so much to all of the events in which you participated-the ;prade, the New Year's Eve parties, ::. _., @sneyland, and on and on and on. I can't @$k you enough and I can't tell you how $@ud I am to be associated with you. ?Bhe Frohnmaver .v-.*yv :&a:< Th$.marching band was a credit to the b& &@:a pg%@pd YOU can take a bow for pla$#n~@qnpoaant role in a memorable &5g@zgg1ife of the university ... I think I c%%peiihif"or every Duck who felt enor- &pQride in our marching band during i' 6*I; it@e~~$umament Roses Parade and the E@$&J~owl at every event in which 6&&ppeared. The band looked and @%nded great and added inestimably to _> -bur spirit and camaraderie ... You were a sterling ambassador for the music depart- ment, the university, and the state of Oregon, representing the very best quali- ties of public service to which we all aspire. We could not have done it without your efforts ... Daniel A. Williams Vice President for Administration and Athletic Director Band Uniform Fund Still Needs Starch The Oregon Marching Band is still accepting donations to complete its inven- tory of new uniforms. The Athletic Department supplied the funds for the uniforms you saw in the Rose Bowl game, but additional uniforms are needed for three reasons: to replace worn or damaged uniforms; to outfit in- coming personnel who may not have the same body size or type as outgoing mem- bers; and to outfit the baud as it increases in size-a likely prospect this yean Make your check payable to School of Music/UO Foundation, with a note indi- cating "Band Uniforms." 4 UO to Host International Horn Workshop Oregon Bach Festival), and will feature recitals, master classes, lectures, and en- The University of Oregon School of Music has been awarded the honor of hosting the International Horn Society Workshop for 1996. The convention is comprised of French horn players from around the world, and will feature some of the world's greatest artists on the horn. Ellen Campbell, UO assistant profes- sor of horn, will serve as the Workshop Host and Artistic Director. The event will be held June 17-22, 1996 (prior to the sembles for professional, amateur, and student horn players. The workshop is producing consider- able interest and enthusiasm among area horn players, as this event has never been held in the Pacific Northwest. In order to pull local horn players together, the Emer- players, regardless of age or ability level, are invited to join. The Emerald Horn Club's mission is to promote horn playing in the mid-Willamette Valley area, develop communication and cooperation within the horn-playing community, and serve as an educational organization for anyone inter- ested in the horn. For further information, call Ellen Campbell at 346-3776. ild Horn Club is being rekvated after 1 mr - 'y lying dormant for some years. All horn 1 Peresson Viola Donated to School A beautiful viola by the renowned 20th century maker Sergio Peresson was recently given to the School of Music by Dr. Thomas Marrocco, former professor of music at UCLA. The instrument was formerly in the possession of the well-known artist- violinist, Eugene Fodor. The viola is in mint condition, with a beauti- fully cut scroll, and is a prime example of Peresson's work. Associate Professor Leslie Straka gave the viola its Beall Concert Hall debut in a Mav 16 concert bv the Oregon String Marrocco was held School of Music Video Wins CASE Award The School of Music's new recruiting video, described in the previous issue of Ledger Lines, won a Silver Award at the 1995 District VIII CASE Recognition Program held in Seattle. CASE, the Council for Advancement and Support of Education, sponsors a variety of conferences and seminars spe- cifically targeted to education and admin- istration issues, and each year recognizes outstanding work in the area of publica- tions, alumni relations, fundraising, and other special projects. District VIII covers the Northwest region of the country. The School of Music's award came in the Electronic Media category-tying, ironically, another University of Oregon video, produced for the UO Foundation. Nearly 100 copies of the recruiting video are in the hands of Oregon high school music teachers, plus several in Washington state. In addition, our music faculty often take a copy of the tape them when they make recruiting visits to high schools around the Northwest, and in Cali- fornia. * Guarneri Quartet and Steinhardt to Open CMS Season UO Professor Victor Steinhardt will join the world-renowned Guarneri String Quartet in the opening concert of the UO Chamber Music Series' 28th season. The program will be on Sunday, October 22, at 8 p.m. in Beall Hall; Steinhardt will be featured in Brahms' Piano Quintet in D Major. The concert will be a family reunion of sorts, as Victor's brother, Arnold Stein- hardt, is one of the Gnarneri's violinists. Arnold and Victor last performed together in an Oregon Bach Festival recital in 1994. The CMS season will feature some other UO faculty, as the Oregon String Quartet performs on April 9 with classical guitarist Ricardo Iznaola. For tickets, call (503) 687-5000. Lecture Series to Honor Robert Trotter At its 37th Annual Meeting, the Col- lege Music Society (CMS) established the Robert Trotter Lecture. Named to honor Professor Trotter, who was a major con- tributor to CMS, and who served as dean of the UO School of Music from 1963- 1975, the lecture is to be given each year at the Annual Meeting and to reflect the interdisciplinary nature of CMS. The first lecture in the series was given by Ricardo Trimillos, whose presen- tation was titled "Western Music and the Ethnomusicologist's Gaze: Theory, Praxis, and Performance Viewed by a Filipino- American with Lutheran Leanings." 4 Chamber of Commerce to Spotlight Music School The Eugene Chamber of Commerce "After Hours" event on Thursday, October 5, is titled "The University of Oregon School of Music Is Good Business for Eugene.'' The public event will be held from 5-7 p.m. at Carter & Carter Finau- cial, located at 743 Country Club Drive. Food and music will be provided. For reservations, call the Chamber of Com- merce at 484-1314, 4 Musical Survivors at UO 1 had matured at age 16 she began to study / at the Music Academv: before then. she . . laughs, "my voice was screechy-peachy." Foreign students bring insights from their war-torn homelands While Nikolina was putting her life Croatia: Nikolina Korecic by Karen Pederson 0 our years ago, as the fighting in Bosnia had only begun, a voice instructor in Croatia asked a first- time student about her expectations. "What do you want to do with this? Do you want to he a Broadway star? Do you want to be an opera star?" An uncertain 16-year-old girl answered: "I don't know. I just like to sing." Nikolina Korecic then sang one of her favorite arias from a Croatian operetta, Little Flora My, about a young girl who comes to the United States and is very homesick. Right then Nikolina knew she wanted to sing professionally. "And I knew I was going to go to the United States." Nikolina is now 20 and just com- pleted her sophomore year at the UO, studying voice performance. If it weren't for her accent, you couldn't tell her apart from her colleagues. She is bright and cheerful. She works hard, plays hard, and, from all appearances, is very happy. But she was born and raised in Zagreb, the capital city of Croatia. And as a result, Kuwait: Amer Jaafar by Scott Barkhurst 0 ive years ago Amer Jaafar was running, hiding, and fast-talking his swarmed into his homeland. "I first bought a Persian passport," he said, "and then convinced the Iraqis I was an Iranian working in Kuwait." After escaping to Iran, he spent some time trying to comprehend all that was happening. Like most of the people in Kuwait, he never believed war would come, and the invasion was a deep wound to his sense of Arab unity. He arrived in America in the fall of 1992, settling in Portland, where his broth- ers were studying engineering. At that point, a career in music was not in the cards, even though he enjoyed listening to "politics rules my life." on track, her country was falling apart. The previous political regime in her She dealt with the rigors of living in a war - - homeland (the Comrnu- zone by writing to nist-ruled Yugoslavia) $5 friends in other oats - prevented her father from pursuing a career in the performing arts. "He has a beautiful voice," she says, but he did not belong to the Communist party, and therefore had no hope of heing allowed into the circle of professional artists. Those restrictions no longer exist, but it is still difficult to break into the field. Performers in Croatia are considered divas even more so than of the world, describ- ing in detail the daily air raids, the endless hours spent in base- ment shelters, the uncertainty of her day-to-day existence. One of the recipients of those letters was Melanie Guptill, a young dancer in Waldport, Oregon, whom Nikolina had met at an international festival in Prague. When the Guptill in the United States, Nikoliiza Korecic family offered to take according to Nikolina. Because the arts are so revered, chil- dren are introduced to opera and other arts at an early age. Nikolina loved attending the opera, but when it came to performing, she sang in choirs and in musicals. "I wasn't interested in classical music then, I liked pop and other stuff." When her voice Nikolina into their home, she gratefully accepted, and spent her high school senior year in Waldport. A year later she entered the University of Oregon-and one of the primary rea- sons was to study with mezzo-soprano Milagro Vargas. Nikolina says Vargas has taught her not only to sing well, but to classical music and playing the oud (a 1 him to pursue hisinterest in music and lute-like instrument common in Mideast composing. It was the Portland connection cultures). Athough he bad an uncle who was a poet, Amer's large family was steeped in politics and business. Indeed, Islamic society in general is not terribly supportive of music as a career, according to Amer-viewed more as an "escape from reality," and associated with a lower-class cabaret lifestyle. But while he was in Portland, Amer met several musicians, including Tom that eventually con- vinced him to get a degree in music and then to attend the Uni- versity of Oregon for a graduate degree in composition. For his graduate recital this spring, Amer incorporated both Eastern and West- ern instruments in his compositions-a meta- phor, perhaps, for his desire to help bridge the gap between East- ern and Western cul- tures. One of his lone- - Svoboda, who encouraged range goals, in fact, is reach into her soul and share herself with her audience. In addition, Nikolina was one of 30 students offered a full tuition waiver through the International Scholarship program, funded by the Oregon State System of Higher Education. In exchange for the tuition waiver, she and other inter- national students agree to spend a mini- mum of 80 hours apiece, speaking at Kiwanis Clubs, Lions Clubs, high schools, nursing homes, and retirement centers. Although the required community service is time-consuming, Nikolina im- mensely appreciates the opportunity to educate others on the situation in her homeland. "The war is not a religious war," she stresses. "The Serbs want to expand their territory." Nikolina believes Americans take for granted what they have, and don't fully understand what is going on in other parts of the world. The Bosnian war is not taking place in a world far away; it is taking place in cities just like ours, involving citizens just like us. On the other hand, she sympathizes with the way Americans often detach themselves from world events. "Some- times I forget evelything now, for a mo- ment, when I'm just hanging out with my American friends. I forget where I come from, how people live there. I just forget. And sometimes I hate myself for that." to write a concerto for the oud. In July, Amer, his wife, and two small children returned to Kuwait, where he will teach at the Music Institute. The Institute is 14 years old, and was originally de- signed to teach Arabic music. Amer says he hopes to Americanize the Institute somewhat, broadening its scope and its teaching techniques. He feels part of his mission, in addition to teaching music, is to change attitudes in the Arab world and help forge new bridges between the East and West. Amer's impression of Americans, or at least Oregonians, is that they are very open-minded and genuinely want to know the truth of what is happening in troubled areas of the world. And despite America's own problems with social and cultural prejudice, Amer claims that much of the world is learning flexibility and tolerance It isn't just the realities of war that she forgets, but the day-to-day life for the people back home, their lack of freedoms. "Ever since I was little ... we were not al- lowed to go to church on a regular basis. You were supposed to be careful what you say in public, because you might go to jail. I wasn't able to express my national iden- tity or my religious beliefs. But I was little then, I didn't know. But I know how my parents lived then." Nikolina hoped to continue her stud- ies at Arizona State and possibly even Juilliard. But after three years she could no longer bear to be apart from her family, and returned to Zagreb in June. There was no fighting in Croatia when she left, but the situation changes daily, as do her chances to be awarded a reentrance visa. But Nikolina, like all true artists, goes where her heart takes her. Her love for her family has compelled her to reenter a war zone, putting her entire future in jeopardy. It was her love of singing and her desire for a better life that gave her the courage to leave her home in the first place, and now she may never realize those dreams. But she still believes her future will hold many opportunities to perform, to give of herself. "I think if your soul draws you to do something," she says, "you should go for it." + from Americans. Of the current negotiations between Palestinians and Israelis, Amer is con- cerned that most of the discussions are being controlled by business and eco- nomic interests, that there is not enough attention heing paid to education and health care issues. "We are not really solv- ing the problems, because the problems are with people," he says. "There is a lack of art and music and culture in the dialogue ... we must discover a language to communicate." For Amer, that language clearly is music. Just before returning to his home- land, five years after the invasion, he stated, "I could never hate a fine oud player from Iraq ... war cannot break the artistic (bond) between peo~le..." And, with a wm "When wesit and play music, we forget where we came from." + Christopher Arrell will begin the master's program in composition at the University of Texas at Austin. His uni- versity scholarship includes a graduate teaching fellowship. Kendra Eckard, a clarinet performance major, was awarded a full scholarship to Arizona State Univer- sity to work on her D.M.A. Elizabeth Gardner won the Mu Phi Epsilon State Piano Award competition, held in Port- land, and Gina Gephart won the OMTA State Piano Award competition, also held in Portland. Graduate piano students Robert Motchalov and Aki Tashiro each won $500 scholarships in the local Mu Phi Epsilon competition spring term. Other Mu Phi winners were Yoko Nakatani for composition; Judit Bach, piano; and Aaron Holmes, trumpet. Andrew Sanerwein will begin the Ph.D. program in composition at Duke University. He was awarded a university fellowship which includes full tuition plus stipend for four years. Emily Orton, ajunior from Creswell, OR, won the Miss Oregon Contest in July, earning her a trip to the Miss America Pageant in September. Orton is majoring in vocal performance and music education. Amy Zastrow, a tuba major from Roseburg, OR, was one of a dozen national recipients of the Yamaha Young Performing Artist Awards for 1995. She was the only tubist honored this year in the competition, and was flown to the Grand Rapids Arts Festival where she appeared as a guest soloist. Nancy Blake, staff member of the Oregon Bach Festival, was one of three recipients of the UO Martin Luther King Jr. Awards, given to classified and management service personnel for outstanding work in promoting cultural awareness, diversity, and racial justice on campus. Marian Maser, Dance Dept. secretary, was one of 12 recipients of the UO Classified Employee Awards given spring term. The winners were nominated by their depart- ments for overall excellence in job performance. Dong Boyce, Kristen Halay, John Klinghammer, Kelly Kuo, Kevin Lefohn, and Tamara Theodosis were all accepted to study at Aspen this summer.+ Members ofthe Kyoto Bach Choir of Japan enjoy a social event at the Bach Festival. Bach Festival Music Hits Mark he Oregon Bach Festival success- fully concluded its 1995 season, achieving high artistic goals, in- volving the community on new levels, and reaching one of its best box office totals. With two performances of Benjamin Britten's War Requiem as the centerpiece, the 26th Festival commemorated the 50th anniversary of the end of World War 11. Bringing together choirs from Japan, Ger- many, and the United States, with an inter- national cast of soloists, the War Requiem symbolically honored 50 years of peace between former enemy nations. Many of the Festival's 51 events were tied to the theme of "War, Reconciliation, and Peace." Executive Director Neill Archer Roan said that he and Artistic Director Helmuth Rilling agreed that the music offered at this year's Festival reached a new stan- dard. "By any measure our level of musi- cal excellence increased," said Roan, "with outstanding performances by solo- ists, the orchestras, choirs, and en- sembles." Enthusiastic response by critics and audiences echoed Roan's sentiment. Roan was also pleased with the extent of community involvement around the theme, citing a program sponsored by the Hult Endowment Fund which allowed nearly 400 veterans and civilians affected by war to attend, free of charge, a perfor- mance of the War Requiem. In addition, hundreds of community members partici- pated in lectures and discussions as part of the Festival's Creative Journeys program; At the ticket office, the Festival had its third-best year, with over $305,000 in ticket sales, nearly 17,000 in paid atten- dance, and total attendance of over 27,000. But Roan had higher expectations. "Our ticket sales were off by 3.8 percent from 1994," Roan noted. "As a result, we will fund raise extensively this fall, and work hard to boost attendance next year." Roan added the Festival continued its trend of growing new audiences. "We are pleased and grateful that Festival atten- dance continues to be spread among more families," he said. "In 1995 we added to a four-year trend of a growing number of households attending the Festival." The Festival reached new audiences this year with concerts it produced in Salem and Corvallis, attracting 1,500 new ticket buyers and laying the groundwork for continued events in those cities. The Festival built on its reputation as a Festival of international stature, featur- ing performers from Korea, Japan, Ger- many, Canada, Great Britain, and the United States. Its educational programs hosted students from 11 countries. Ticket buyers came to the Festival from 34 different states. The Festival's economic impact on the region is esti- mated at $4.5 million annually. Next year's theme, "Bach and the Americas," will explore the influence of Bach's music on the new world, and will feature world premieres of four commis- sioned cantatas. + Composers Give Thumbs Up Passion Over St. John In its second yeas, the Oregon Bach Festival Composers Symposium brought 34 composers to Eugene-from Japan, Kuwait, Turkey, South Korea, Taiwan, Cyprus, Iran, and Germany, as well as from across the United States. For three weeks, these aaists participated in an intensive curriculum that combined com- position, theory, and performance-the only program of its kind in the country. The symposium, under the direction of UO Associate Professor Robert Kyr, is designed to reach out to Festival audience members and to engage them in the cre- ative process of composers and perform- ers. To that end, the symposium focused on three public reading sessions during which the Verdi String Quartet played works by ten participants, plus an evening lanning for the 1995 Oregon Bach Festival took an unexpected turn as an interesting philosophical debate arose over the selection of Bach's St. John Passion to open the Festival. Some in the local Jewish community felt the St. John i was inappropriate, given the text's re- peated mention of Jews in fixing the blame for the crucifixion of Christ. In another year, this would not have been an issue at all; the Bach Festival has, in fact, performed the St. John Passion several times (as recently as 1991) without incident or protest. This year, however, the Festival chose as its theme "War, Recon- ciliation, and Peace," commemorating the 50th anniversary of the end of World War 11. And there, say the critics, lies the rub: one of Hitler's weapons in his crusade to exterminate the Jews was to use the text of the gospel of St. John to label all Jews as "Christ killers." A perverse tactic, to say the least, and one that still perturbs many in the Jewish community. The protest was lodged months before the Festival opened, and Executive Direc- tor Neill Archer Roan discussed various options with Artistic Director Helmuth Rilling. The decision to leave the St. John Passion on the program came after much deliberation and soul-searching. In a lengthy and eloquent letter that summarized the ethical quandary, Roan noted that despite the fact that the passion concert featuring music by composer-in- residence Judith Weir, and by three partici- pants-Tom Trent (University of Oregon), Michael Mathis (Rice University), and Peter Knell (University of Texas-Austin). The reading sessions were actually open rehearsals with the composers, giv- ing audience members the opportunity to witness the creative process involved in bringing a work to life. After the reading of each piece, Judith Weir and Robea Kyr discussed pertinent musical issues with the composer and performers. The symposium included other com- ponents: daily seminars on primasy Festi- val repertoire; sessions where composers presented their music to each other; indi- vidual meetings with Judith Weir; and attendance at Festival rehearsals and per- 4 COMPOSERS, continued formances. Seminar lecturers on Festival repertoire included Anne Dhu McLucas, I Nick Strimple, and Helmuth Rilling; Neil1 Archer Roan spoke on career issues facing young composers; and Kathy Romey discussed contemporary choral music. One of the symposium participants said to Kyr, "I've never been in a situation with so many composers from different cultures before, and I find it very inspir- ing." That convinced Kyr that the sympo- sium is further enhancing the Bach Festival's reputation as a truly interna- tional community of artists. And this, in turn, will help serve as a stimulus for the creation of new works. + narrative has had an unfortunate history of 3eing used as justification for the persecu- ion of Jews, it is, nevertheless, among the noliest of sacred texts from a Christian perspective. "Among those mysteries contem- plated by Christians for centuries, this story is at the heart of the faith," wrote Roan. "Given this context, the sentiments ;hat Christians and Jews might feel are wholly understandable, but create both a iilemma and possibilities for further con- flict. Given that the Holocaust was such a World War IL..does a performance of this work continue to SOW the seeds of anti-Semitism? "We hope that the Festival theme of War, Reconciliation, and Peace and our performance of Bach's St. John Passion presents a potent opportunity for our com- munity to grapple with the geater ethical and moral questions involved in the pro- cess of reconciliation: How do people determine right action when the sacred texts of one culture or creed are interpreted to negatively chas- acterize people of another culture or creed? How do we recognize the perversion of sacred texts to egregious ends? How do we ensure that what is holiest is not made profane through atrocious acts of violence? How do we relate to historical works of aa when those works illustrate conflicts between peoples, values, or cultures? Do we judge them by the standards of our time or by standards of the times in which they were written? " Roan went on to note that "lt is our intent that an open and honest inquily into the meaning of such works as the St. John Passion will ultimately enrich and enliven our community life. Nothing could be further from our aims than continuing to foster hatred and violence. Instead, we hope that our community dialogue may serve as a model to other communities confronting ethical and moral dilemmas. These dilemmas are a prominent feature of our late 20th century landscape which is marked by an ever-increasing diversity of race, creed, color, and culture." Eugene Weekly, in a two-page article preceding the Festival, wrote: "There are at least three ways of dealing with cultural products that are potentially offensive. We may condemn and suppress them. We may ignore their offensive content and pretend there's no problem. Or we may do what the Bach Festival community has done, which is to view the work in its historical context, openly acknowledge the flaws in the text, and negotiate an acceptable read- ing." In fact, the controversy led to a kind of hands-on reconciliation in action. The Festival worked with members of the religious and academic communities to discuss and debate the issue, including rabbis and ministers from the local Two Rivers Ecumenical Minishies. A number of letters to the editor of The Register- Guard appeared, a press conference was held, and ultimately a special multi- denominational service of reconciliation was conducied to help heal the historical wounds of prejudice and persecution. And on opening night, the attention of the audience was riveted to the text of the St. John Passion-an outcome the Festival welcomed. "It is an understandable thing that concerns about the appropriateness of the performance of the St. John Passion have been raised," said Roan. "But rather than arbitrarily consign a work of art to the dustb'in of history, we hope to renew its craft and beauty by freshening and enlivening the dialogue of the people who hear it." + I . - WLTY NEWS -. . -- I Don Addison (GTF) read a paper titled "Musical Form and Structure of the Native American Crow Hop Dance Song" at the Northwest Regional meeting of the Soci- ety for Ethnomusicology; Addison was last year's secretary-treasurer for the re- gion and was elected student representa- ; tive to the national meeting this fall in Los Angeles. In April, Addison read a paper titled "Dances with Idealizations- Kalapuya Indian Music of Western Or- egon" at the Northwest Regional meeting of the American Musicological Society at Lewis &Clark College. For the second year, Addison has served on the annual Native American Student Union's Pow- wow Committee, and was coordinator of the Native American arts, displays, and vending at the 27th annual Powwow at McArthur Court in May. Lisa Arkin (Dance) choreographed the Beall Hall production of Menotti's The Unicorn, the Gorgon, and the Manticore in April. Arkin acted as artistic directod choreographer for the Oregon Ethnic Dance Theatre (OEDT) which premiered Fieldsong, a 15-minute work based on Ukrainian culture and dance. OEDT toured Arizona and Washington in 1995, giving performances and master classes. With colleague Marian Smith, Arkin presented "Sylphs and Mazurkas: National Dance at the Paris Opkra, 1830-1848" at a May gathering of the Society for Dance History Scholars in Toronto. In February, Arkin presented a project utilizing multi- media technology for dance ethnology at the UCLA Dance Ethnology Forum. Barbara Baird, together with Baroque trumpeter and UO alum Gil Cline, gave concerts in Portland, Salem, Klamath Falls, and at the UO in Beall Hall. Baird performed as organ soloist with the Oregon Mozart Players, and played in several performances during the Oregon Bach Festival, as well as with the Univer- sity Symphony. On top of her busy perfor- mance schedule, Baird taught a Freshman Seminar called "Humor In Music" and was invited to teach the class again the following year. Baird also served as adju- dicator for the OMTA's Jr. Bach Festival district programs in Portland and Rose- burg, and the regional program in New- port. Her article, "Harpsichord Techniques to Reduce Injuries," appeared in Clavier magazine's January 1995 issue. Baird has begun advanced training with Sharon Ellison, of Ellison Communications Con- sulting, to be a facilitator in "Powerful Non-defensive Communication." Sherrie Barr (Dance) travelled to En- gland in April to present a paper, "Strad- dling Borders: Proto-Narrative Unit," with Philip Lewin at the Dance and Discourse: Border Tensions Conference at the Uni- versity of Surrey. She also co-presented two movement workshops for the NDA National Convention in Portland in March. Wayne Bennett recently completed his twelfth season as music director and con- ductor of the Cascade Festival of Music. Locally, Bennettperfomed with the Sev- enth Species Series, Eugene Opera, and UO faculty ensemble Con Brio, and was guest conductor for the Eugene Symphony Pops with Mason Williams. Bennett was a guest clinician at Central Washington University (band) and in Alaska (clarinet1 band). He also adjudicated in Boise, Medford, Seattle, San Francisco, and Vancouver. B.C. Li-Chen Chin (GTF) served as chair of the International Student Advisory Com- mittee (ISAC) for 1994-95. The commit- tee is an advisory body to the Office of International Education & Exchange. In February, she presented her paper, "Rela- tionships between undergraduate students' achievement in world music and selected background variables," at the Northwest Chapter of the Society for Ethnomusi- cology meeting. Chin also completed work with the Oregon Department of Education on the state content standards for the arts. The International Student Friendship Foundation recognized Chin for the second year in a row for outstand- ing service, and in May she received a Graduate Student Service Award. Robert Hnrwitz attended a banquet in celebration of the 40th anniversary of the Advanced Placement Program of the Col- lege Board in June. Hurwitz, a former Chief Reader of Music Advanced Place- ment examinations, attended the banquet at Trenton State College in New Jersey. David Paul Johnson (GTF) had his com- position, These Sins Will Not Be Forgiven (1994), performed at the UO Electronic Music Studio Concert in February, at the College Music Society Northwest Chapter Meeting on April 1 in Portland, at the Journkes d'lnformatique Musicale '95, in EUen Campbell performed in concerts this past spring as far away as North Da- kota. In Eugene, Campbell performed Strauss' Concerto No. 2 with the Univer- sity Symphony in February. In March, she appeared as guest artist at the Arizona Intra State Horn Workshop, sponsored by Arizona State University, and at the Uni- versity of New Mexico's Composer Sym- posium. The New Mexico program in- cluded the world premiere of a horn octet by Andrew Downes, dedicated to Camp- bell. That same month, Campbell appeared as a soloist with the Minot (ND) Sym- phony Orchestra, performing Schumann's Konzertstuch for Four Horns and Orches- tra. And in April, she played in a Mozart quintet performance for the First Annual Northwest Horn Workshop at Pacific Lutheran University in Tacoma, WA. Paris on April 7, and in May at the Austra- lian Computer Music Association's "Digi- tal Waves." Robert Kyr's vocal music, Unseen Rain, was released on CD under the New Albion label in June. The disc features three com- missioned works which he composed for the Ensemble Projects Ars Nova: Three- fold Vision, three motets for three vocal- ists; Songs of the Shining Wind on texts from around the world translated by W. S. Merwin; and Unseen Rain, a cantata for soprano, countertenor, tenor, chorus, and instruments. The commissioners were the Chase Foundation and Chamber Music America. Kyr's The Passion According to Four Evangelists, a 70-minute chord orchestral work with four soloists, was premiered by Beverly Taylor and the Back Bay Chorale at Sanders Theatre (Harvard University) in April. The piece was com- missioned by the Chase Foundation, the Ratsesky Foundation, and the Massachu- setts Council for the Arts and Humanities, with support from the NEA. Kyr wrote an extensive article about the passion, "A Twentieth Century Passion Setting: Syn- thesis and Exploration," which was pub- lished in the International Choral Bulletin (July 1995). Bronze Piano, a collaborative work by Kyr and Daniel Scheidt for MIDI grand piano, disklavier, sampler, and computer, was selected by an international jury to be presented on the opening con- cert of the 1995 International Computer Music Conference (ICMC). As pianist, Kyr premiered the work at the "Big Bang" Festival sponsored by the Vancouver New Music Society (April) and will perform a new version of the work at ICMC in Sep- tember which will be held at the Banff Centre for the Arts in Alberta. Another version of the work will be featured on the compact disc which commemorates ICMC '95. Kyr continues as director of the Mu- sic Today Festival and the Oregon Bach Festival Composers Symposium, hoth of which enjoyed highly successful seasons this year. Mark Levy continues as director of the School of Music's World Music Series, which will open its fourth season on Octo- ber 14 with a concert of classical North Indian music by flutist G. S. Sachdev and dames Miller retired from the music fac- ulty in June after serving as chair of the voice department for eight years. Miller first came to the UO in 1965; over the years he has been a voice teacher, a mem- ber of the University Consort, and director of the UO Chamber Choir. He is also a former director of hoth the German and English Centers for International Music Education in Europe. Miller has co- authored two textbooks with Gary Mar- tin: An Outline History of Western Music, now in its eighth edition, and An Introdnc- tion to Music and Art in the Western World, just released in its tenth edition. For the past 15 years, Miller has directed the Eugene Chamber Singers, a community ensemble that traveled to Irkutsk, Russia, in 1993 after having brought the Irkutsk chamber choir to Eugene in 1991 as part of a Sister City cultural exchange. tabla player Swapan Choudhuri. As Presi- dent of the Northwest Chapter of the Soci- ety for Ethnomusicology, Levy organized the chapter's annual meeting at the UO in February-the first time an SEM chapter meeting was held at the UO, reflecting the expanding cuniculum and general surge ol interest in world music here. Over 60 participants from various northwest insti- tutions and communities attended the meeting. Levy received a Faculty and Program Development Grant for Interna- tional Education for academic year 1995- 96. These funds will enable ethnic music performers to visit Levy's world music classes, as well as provide support for World Music Series concerts. Levy per- formed Balkan folk music with the Eu- gene-based group Slavej at the Seattle Folklife Festival in May, and taught and performed at the 1995 Balkan Music & Dance Workshops at Mendocino Wood- lands, CA, and Camp Ramblewood, MD, this summer. Anne Dbn McLncas presented "Sounds of the Hollywood Indian: Subliminal Myth-Making in Movie Music," at the Society for Ethnomusicology and at the Music Department of the UG Santa Bar- bara. She also spoke on 19th-century melodrama at the American Musicological Society meeting in Portland. Randall Moore and David Johnson co- authored a research paper, "Effects of Musical Experience on Perception of and Preference for Humor in Western Art Music," and presented it at the National Symposium of Research in Music Behav- ior in Ohio in April. Moore coordinated the 12th Oregon Children's Choral Festi- val at the Hult Center for Performing Arts where over 3,000 children from around the state participated in April. Moore con- tinues as Music Director for the Oregon Children's Choir, which began in 1982. The Oregon String Quartet (Kathryn Lucktenberg, Lawrence Maves, Leslie Straka, and Steven Pologe) performed the Mendelssohn Octet with the Verdi String ~uaget 1995 Oregon Bach Festival. They also hosted a workshop at the UO for the Fernwood Middle School Orchestra, and played concerts at high schools in Salem and Portland. Jeffrey Peyton (GTF) has been named Artistic Director of the Third Angle New Music Ensemble in Portland, OR. Peyton's first duty will be the recording of Stravinsky's L'Histoire du Soldat for Koch International, with Oregon Sym- phony maestro James DePriest narrating. Peyton has also assumed the position of Orchestra Manager with the Oregon Ballet - . - - - - . . . . - FACULTY NEWS .- - I Theatre, and will continue in the role of Principal Guest Conductor. Peyton's com- position, Echoes ofAlbion, commissioned by the Eugene Symphonic Band, was pre- miered May 2. Other projects include the score for the UO Foundation video project, the premiere of Cantos Sonors for Solo Timpani, and a series of percussion solos and ensembles being distributed nationally by Matrix Publishing. Peyton bas been : licensed by ASCAP and has been signed as a regional performance artistlclinician with the Yamaha Corp. Peyton led the Univer- sity Percussion Ensemble at the Northwest Percussion Festival and at the Oregon Day of Percussion; he also presented a MIDI clinic at the latter event. He performed I Can Dance by Jeffrey Stolet on the featured clinician recital at Oregon Days of Percussion, and again at the College Music Society Regional Conference in Portland. Peyton continues to perform full time with the Oregon Symphony, Eugene Symphony, and Oregon Ballet Orchestra. Summer performances include the Cascade Music Festival, Peter Britt Festival, Oregon Coast Music Festival, and Oregon Bach Festival. He also serves on the summer faculty of the Metro Arts Kids Camp in Portland and the Britt Arts Academy in Jacksonville, Oregon. Doug Scheuerell played the tabla at a solstice celebration in Sisters in June. In July he studied with tabla master Swapan Chaudhuri and gave recitals in the San Francisco area. Earl Simmons (GTF) won third place in the Portland Opera Guild Competition on March 19. Simmons is a student of James Miller. Victor Steinhardt's numerous appear- ances during the first part of 1995 in- cluded the premiere of his piano duet Variations with Mary Elizabeth Parker as pm of the Music Today Festival. Stein- hardt and Parker also performed at South- west Texas State University in March and at Lane Community College in May. Steinhardt performed in benefits for the Eugene District OMTA in January and for the Oregon Mozart Players in June, where he was accompanied by violinist Kathryn Lucktenberg. He accompanied mezzo- soprano Milagro Vargas in Eugene, at Mississippi State, and in Portland, where they performed Gypsy songs by Dvorik. In January, Steinhardt performed with the Pacific Trio ensemble (Steinhardt, Lucktenberg, and Steven Pologe) in Brookings, OR, as well as in a showcase Steve Stone, associate professor emeritus, was recognized by two professional organi- zations this past year for his teaching excellence and outstanding service to music edu- cation during his long and successful career. He was the recipient of the Distinguished Service Award presented by the Northwest Division of the Music Educators National Conference, held in Spokane in February. The award is presented every two years, honoring individuals for a lifetime of achievement in music education and recognizing their roles as teachers and leaders. In addi- tion, Stone was recognized last fall by the Northwest Bandmasters Association for his contributions to the field of music education. Among Stone's long list of activities are: serving as president of the Oregon Music Educators Association and the Northwest Division of MENC; serving as evaluator of music ed programs for the National Commission for the Accredita- tion of Teacher Education, the Oregon Teacher Standards and Practices Commis- sion, and the Oregon State Department of Education. For the past three years Stone has been a lecturer for Oregon's Festival of American Music, held in late summer at Beall Hall and the Hult Center for Per- forming Arts. presentation of piano solos at the North- west Booking Conference in Boise, ID. Steinhardt performed Judith Weir's Scot- tish Minstrelsy songs with soprano Maria Jette at the Oregon Bach Festival. Stephen Valdez delivered a paper at the 1995 regional conference of the American Musicological Society held at Lewis & Clark College. The paper, titled "Standing at the Crossroad: A Study of the Signature Guitar Licks of Robert Johnson," was based on research funded by a UO New Faculty Research Grant. Valdez was also the program coordinator for the regional conference of the College Music Society, and has been elected treasurer of the Pa- cific Northwest Chapter of CMS. Valdez and wife Cherese recently became parents for the second time when son Thomas Michael was horn April 3. Mary Lou Van Rysselherghe was ap- pointed to the ISME Early Childhood Commission, not to the general governing board of ISME, as earlier reported. She currently serves as national editor for the Newsletter of Early Childhood Music Research. Van Rysselberghe has been reappointed to a four-year term on the Executive Committee of the Society for Music Teacher Education. She also serves on the Publications Advisory Committee for MENC. Claire Wachter appeared in solo and chamber works at the Oregon Bach Festival's "On the House" concert series this summer, most notably in Bach's Con- certo in D Minor for keyboard and strings. Susan Zadoff choreographed Dennis Davenport's dissertation, The Celtic Sea- sons, this past spring. She also performed in the Eugene Opera production of La Traviata. Zadoff choreographed two sub- stantial concert pieces in 1994-95; one was for LehadSiegel dnetslsolos concert in December, titled "Duos and Last Turns." Zadoff also staged and choreographed the UO Song and Dance Troupe's Ragtime Revue and Cabaret Revue in collaboration with Dennis Davenport. + Self-Awareness and the "Universal Language" - - by Mark Levy, assistant professor of ethnornusicology e often hear music referred to as a "universal language." In implying that there is automatic mutual un- derstanding and appreciation of musical systems between cultures, this statement is simply not a reflection of reality. There are thousands of mutually unintelligible musi- cal languages and dialects throughout the world just as there are verbal languages. When a student first hears a Javanese gamelan orchestra, for example, it is a foreign language whose rules of grammar and syntax must be learned before a real appreciation of the music can be gained. When studying languages, though, we are not usually preoccupied with judgemental evaluations concerning which language is "better" or "more beautiful" than another language. We tend to concentrate on learn- ing each language as a coherent system of rules and regulations valid on its own merits. Similarly, accepting other music cultures as valid and beautiful in their own terms is a more effective approach than repeated value-laden comparisons with music more familiar to us. Prior to my current position teaching courses in world music at the UO School of Music, I was an administrator of study abroad programs at the UO Office of In- ternational Education & Exchange. Meet- ing with students returning from overseas study programs, I repeatedly observed the life-transforming effects of living for an extended time immersed in another cul- ture. Students described how they felt upon returning to the US.: the reverse "culture shock" in re-adapting to a for- merly familiar environment which now seemed strange and somehow different after a year of exposure to other life styles and world views. These students were now able to observe and reflect on their per- sonal lives as well as American life in general with a fresh perspective. Mundane daily activities, interpersonal interactions, body language, and assumptions and prejudices formerly taken for granted anc performed mechanically were now ques- tioned, thought about, and discussed witl. other study abroad returnees. In short, these students had developed an increase, awareness of themselves and of their home culture. What impact can a few 10-week courses make against the background of 20ormore years of cultural "baggage"? What does the above scenario have i common with the study of world music? During the past four years, I have been teaching courses such as Music in World Cultures, Music of the Americas, Music of India, Folk Music of the Balkans, and Musical Instruments of the World. In many ways, a course examining the musi of another culture is a mini-"study abroad" program. Just as the students described above are exposed to world views and behaviors differing from those of their home culture, students in world music classes are exposed to music cul- tures whose aesthetics, priorities, values, and performance contexts may differ drastically from the attitudes and ideas about music which have surrounded then their entire lives. Listening to unfamiliar sounds en- :ourages students to question their own preconceptions and assumptions about music, and of course the preconceptions md assumptions of their home culture. Aspects of music previously taken for !ranted or simply not thought about are now considered in a fresh perspective with increased awareness. Students com- ment that after a term of studying the music of India, for example, a rock band or a symphony in the Western European/ Anglo-American tradition sound com- pletely different than they did previously. These students have gained not only a newly acquired appreciation of Indian music, but a renewed appreciation and awareness of Western music. They have realized that their previous use of the term "music" actually referred to a limited num- ber of musical genres from Western Europe and the United States. Recently, upon returning to Eugene after an intensive eight-day workshop in the folk music of the Balkans, I attended the Oregon Bach Festival performance of DvorWs Stabat Muter at the Hult Center. Sitting in the audience, I had the good fortune of experiencing the event as a cultural "outsider." After a week of orally transmitted improvisatory music with dense melodic ornamentation, drone-based harmonies, and asymmetric meters, the musical language of the 19th century West- em European classical tradition seemed extraordinarily fresh and new, almost as if I was hearing it for the first time. I felt a renewed, increased awareness of and ap- preciation for this music-not in terms of one musical system being "superior" or "more sophisticated" than another, but simply an awareness that each music cul- ture possesses its own coherent and consis- tent set of rules, frameworks, models, and intentions. Obviously, there are substantial and significant differences between studying ... after a term of studying the music of India, a rock band or a symphony in the Western European tradition sound completely different than they did previously. another culture and actually living there. In terms of learning about the musics of In- dia, Indonesia, sub-Saharan Africa, or the Balkans, students do not ordinarily have the opportunity to live for an extended period in these cultures, but must experi- Continued on pane I2 VIEWPOINT, continued ence these musics and develop an appre- ciation for them while living in Eugene. This creates a considerable challenge for the instructor who wishes to bring these music cultures to life as much as possible in room 250 of the Clinical Services Building. I attempt to accomplish this through the incorporation of guest lecture- demonstrations by "native" performers, ' paticipatory music-making, videos, slides, attendance at concerts and commu- nity events, and above all, a lot of care- fully guided listening. In fact, an unforseen benefit of my teaching here has been an increased awareness of and appre- ciation for the wealth of Oregon's own ethnic and artistic diversity. Unfortunately, there are dangers in- volved in this enterprise of armchair musi- cal explorations. An individual deeply entrenched in certain preconceptions about another culture may very well maintain these prejudices even after an extended stay in that culture. Similarly, a student in a world music class firmly convinced that Western musical aesthetics and values are the only valid ones may not be open to an expansion of musical horizons. What impact, then, can a few 10-week courses make against the background of 20 or more years of cultural "baggage"? I have found that a great deal of genuine learning can take place if one has a sufficiently open, accepting, and curious attitude as free as possible from comparative value judgements. We need to be on guard, though, against misconceptions which may result from superficial exposure. Recent studies have shown that students involved in short-term (e.g. 10-week) study abroad programs are more likely to return to the US. with the same prejudices they had previously, in comparison with students enrolled in year-long programs. Imagine someone with no exposure to Western EuropeanIAnglo-American music taking a 10-week course on "Music of the West"! Obviously, such a course could only be the most preliminary introductory taste to a small number of selected genres or styles. Imagine, then, a 10-week course attempt- ing to deal with the musics of the vast multicultural sub-continent of India, or the UO Welcomes New Music Faculty Students, faculty, and staff will wel- come some new faces to the school this fall: Katharyn Jane Alexander joins our composition faculty while Hal Owen is on sabbatical leave. Alexander has degrees from Baylor University, Cleveland Insti- tute of Music, and a doctorate in composi- tion from Eastman. She has taught at both Oberlin and Darttuth. In 1988-89 she won the Pnx de Rome and held a fellow- ship in composition at the American Acad- emy in Rome, then held a Composer's Fellowship from the NEA in 1989-90. Her many honors and commissions include the International Women's Brass Conference, Hopkins Center for Performing Arts, From Music Foundation, Boston Musica Viva, and Basso Bongo. Mark Beudert will join our voice depaament, replacing Jim Miller, who retired at the end of spring term. Beudert Mark Beudert has a B.A. in theater arts from Columbia University, and a master's and doctorate in voice perfor- mance from the University of Michigan. In addition to multitude of cultural mixtures and juxta- positions of Eastern Europe or sub-Sa- haran Africa. My underlying philosophy or intention is simply to encourage stu- dents to become aware of the existence of musical traditions other than the classical and popular genres of the West, to broaden their musical horizons and tastes, and to facilitate their becoming more open and accepting of aesthetics and values differ- ing from those of Euro-American society. Repeated, careful, and concentrated guided listening to any music improves our ability to hear and appreciate any other kind of music. And although there is no one "universal language" in music, be- coming familiar with the diversity of the world's musics increases our musical appreciation and self-awareness. + teaching at Michigan and Albion College, Beudert has had a full schedule of opera performances in the past few years, ap- pearing in Candide, Street Scene, Madama ButtelfZy, Gianni Schicci, Faust, and Cavalleria Rusticana, both stateside and abroad. This winter, Eugene residents will get a double treat as Beudert appears op- posite Milagro Vargas in Eugene Opera's production of Carmen. Jack Boss joins our theory and com- position faculty, coming from Brigham Young University where he has been a visiting professor since 1992. He has bachelor's and master's degrees from Ohio State, and a Ph.D. in music theory fromyale, where he also has taught. He is a past extor of Journal of Music Theory, and has authored a number of scholarly papers on the music of Arnold Schoenberg. Sid Haton is the visiting Associate Director of Bands, and will direct the Oregon Marching Band this coming year. Haton has degrees from the University of South Carolina, and is working on his doctorate from the University of Georgia. Haton brings both awards and versatility with him: his concert hands have won eight Superior ratings, his choirs have won five Superior ratings, and his marching hands have won more than 20 Superior ratings, plus four Grand Championship awards. Haton replaces Rod Harkins, who has returned to Alabama to pursue his first love, commercial composing and arrang- ing. Nadine Hubhs returns to the School of Music after a three-year stint on the theory faculty at Wayne State University. Her bachelor's and master's degrees are from Bowling Green, and her Ph.D. is from the University of Michigan. Hubbs will be a visiting professor in music theory and aural skills this year. + Joan Gardner to Joan Gardner has been hired as the School of Music's development officer, replacing Barbara Goodson, who returned to Berkeley to work for her alma mater. Gardner has a wide variety of experience in fundraising and marketing for the arts. She received her degree in music educa- tion from OSU and did graduate studies in 11ute pcrlor- nwnx 21 S;m I.r.lnci\ca SIJIC. 111 rcxnt yesr.; 011 thc bmrdh oi .Anquakc and thc Portlan~l l%aro.l.~c clk,,tr;t. Gdncr Joan Gardner will be half time for the music school and half time for KWAX, the UO's classical music station. With increased tuition costs and di- minishing sources of state funding, it has become more and more necessary to seek funding from the private sector-individu- als, corporations, and foundations. 3ead Music Deve "One of my chief objectives," says Gardner, "will he to help raise the visibil- ity of the School of Music and its faculty in the state of Oregon by means of out- reach concerts to nearby communities, and more broadcast recordings of our student and faculty groups. Oregon Public Broad- casting and our own KWAX have started to broadcast these programs, and I have a preliminary go-ahead from KMHD in Portland for some jazz programming to be aired. By making our 'product' visible- no, audible-I believe that development opportunities will increase significantly." Gardner notes that the School of Mu- sic has a long list of "needs." At the top of the list is the need to increase our en- dowed funds for scholarships, in order to attract the most eifted music students who is the need to increase the endowment which is set aside as the Dean's Discre- tionary Fund, which includes funds to support faculty projects, programming, and the actual building itself, which needs better spaces, upgrades in furniture, prac- tice rooms, and audio equipment. "With the Capital Campaign well Alberta Potter Gnffith (B Mus. 1923, B.A. 1925) was born in 1902 in Julia- etta, Idaho, a tiny village north of Moscow. She was one offour daughters, and when the family eventually moved to Eugene in the early 1900s, all four girls went to the UO School of Music and graduated with music degrees. One of Alberfn's sisters, Aurora Potter, married Rex Underwood, who was professor of violin at the school, and she joined the piano faculty after her graduation. Alberta studied violin with Underwood and was concerhnistress of the University Orchestra. Her other sisters, Katie, a cellist, and Grace, a clarinetist, also played in the orchestra. Alberta spent the majority of her 30- year career as professor of violin at Chico State University in California. She married Clyde GrifJith in the mid- 1960s and passed away in 1985. opment under way, we are happy to report some recent gifts which we gratefully acknowl- edge through the Foundation," says Gardner. "One wonderful giving instru- ment which many of our alumni are find- ing helpful in tax planning is through planned giving: wills, charitable trusts, and gifts of stocks and bonds. I can pro- vide information on any of these, and I look forward to working with our many alumni and friends." Gardner can be reached at the School of Music (503) 346-5687, or by writing: Joan C. Gardner Director of Development School of Music 1225 University of Oregon Eugene OR 97403-1225 Plan Ahead bv Planning NO* - Have you remembered your alma muter in your will? You can reach tomorrow's stud and create a permanent legacy including the School of Music a Department of Dance in your It's easy to do. Express your bequest as follows "I bequeath the sum of $ to the Umversity of Oregon Foundation, a corpovatton exfsting undev the laws of the State of Oregon, to be used to support the School of MUSIC Department of Dance at the Un~uersity Oregon." To designate your gift for a specific purpose, call us so we can provide you with samples of appropriate wording. If you have already remem- bered us in your will, give us the opportunity to thank you by letting us know. For more information or assistance, contact Joan Gardner, Director of Development, at (503) 346-5687. Charlotte Plummer Owen (B.A. 1939) was featured in an historic photographic exhibit at the Lane County Historical Museum this past summer. In celebration of the 50th anniversary of the end of World War 11, a photograph collection of the famous US. Marine Corps Women's Reserve Band was on display. Owen di- rected the 48-piece band, which included a 15-piece dance band, complete with a dixieland combo and vocalists. The hand toured the metropolitan cities of the US. raising money for the war effort at war bond rallies, broadcasting concerts coast to coast on the three major networks, playing for dignitaries such as President Roosevelt, General Vandergrift, and Ad- miral Chester Nimitz, and took part in hundreds of regular and special functions and parades of the Marine Corps. Byron Miller (MS. 1951) and his wife, Ruth, have returned to Eugene after living in Lake Havasu City, Arizona, for several years. The former South Eugene High School Band and Orchestra Director is currently residing in the Eugene Hotel Retirement Center. Gladys Stone Wright (MS. 1953) was elected to the Women Band Directors National Association's Hall of Fame in 1994; the official ceremony took place in February of 1995. This latest honor is one of many bestowed on Wright, including the John Philip Sousa Foundation Gold Medal and Sudler Order of Merit. Wright was the founding president of the Women Band Directors National Association in 1969, and the first woman to be elected to the prestigious American Bandmasters Association in 1984. She and her husband, A1 Wright, continue their guest conducting and other professional pursuits. David P. Simpson (B.A. 1969) is produc- ing a video on the music of Franz Schubea as the latest in his "Classical Music" series airing on a local cable net- work in Long Beach, California. Donald Firestone (B.S. 1972) is a light- ing designer for New York City Lites, creating lighting for television programs, including The Monte1 Williams Show, Rolonda, Inside Edition, American Jour- nal, and America's Talking Network. Jeff Homan (B.Mus. 1981) has been busy as a performer, appearing as a soloist with two Portland area orchestras in 1994, as well as playing contemporary jazz with the Cal Scott Group. Other performing and recording work keeps him busy, as does his successful teaching studio. Homan recently married Melissa Wheeler of Port- land, and they are expecting a baby later this year. Richard Smith (B.S. Mus. 1983) is assis- tant professor and department chair of StudioNazz Guitar at the University of Southern California. His new release, From My Window (Brainchild Records), reached the No. 2 spot on the Radio and Records Jazz Charts and remained there for several weeks. Smith is currently re- cording and touring with Warren Hill, Richard Elliot, Dan Siegel, and Craig Chaqico. Smith also headlined at the Catalina Jazz Trax Festival and the Paul Masson Summer Jazz Series. Smith has conducted lecturelseminars at the Guitar Institute of Malaysia, Musicians Academie of London and the Greenville (SC) High School for the Performing Arts, as well as for the National Academie for Recording Arts and Sciences Program at The Music Center in Los Angeles. Timothy Tikker (M.M. 1983) was re- cently awarded a $3,000 Individual Artist Fellowship from the Oregon Arts Com- Richard P. Benedum (B.A. 1966; D.M.A. 1972) Artistic Director of the Dayton (Ohio) Bach Society, presided over the organization's 20th anniversary season this May. Bene- dum invited his former UO classmate, Jerold Ottley (D.M.A. 1972), conductor of the famed Mormon Tabernacle Choir, to direct the Dayton Bach Society chorus in musical highlights from the past 20 seasons. Other UO alums reunited at the event were Robert Edwards (D.M.A. 1972) and his wife, Jennifer Roberts Edwards (M.Mus. 1970). Benedum's wife, Julane Rodgers, is also a UO alum (M.Mus. 1969, D.M.A. 1971). The Dayton Bach Society's 20th season specifically honored Benedum, who founded the Society in 1974, soon after joining the music faculty of the University of Dayton. His other contributions to the musical scene include organizing the 199 1 Mozart "Festspiel," directing seminars for the National Endowment for the Humanities in this countly and summer institutes in Vienna, serving as board member of the Kettering Children's Choir, Muse Machine, Dayton Boy's Choir, Dayton Choral Academy, the American Guild of Organists, and the Advisory Panel of the Allegro Fund of the Dayton Foundation. Benedum is an author and lecturer, finds time to give workshops and organ recitals, and writes program notes for the Dayton Philharmonic. He has been a church organist and choirmaster throughout the Dayton area, currently holding that position at St. George's Episcopal Church. Kenneth Kuntz, president of the Bach Society Board of Trnstees, said "We are indeed fortunate to have such an accomplished musician and scholar in Dayton, and the community is indebted to Richard Benedum for his contribu- tions." As part of its tribute, the Bach Society Board of Trustees established the Richard Benedum Fund for Choral Education and Performance. mission. The grant was given towards his next compact disc recording of 20th cen- tury French organ masterworks and his own prize-winning composition. Of the ten Individual Artist Fellowships awarded this year, Tikker's was one of only three awarded in music. Tikker's composition, Variations sur un view; Noel, won the 1993-94 HoltkampIAGO Award Organ Composition, a biennial contest open to composers of all ages in North America, sponsored by the American Guild of Organists. The work was selected unani- mously by a jury of internationally- renowned artists. Tikker is organist and choir director at Westminster Presbyterian Church in Eugene. Robin Collen (B.S. 1976; M.S. 1984) acted as a Laban Movement Analysis consultant on the doctoral dissertation of Tberees Tkach Hibbard (D.M.A. 1994) titled, "The Use of Movement as an In- structional Technique in Choral Rehears- als." Therees is now working in London, and Robin is in the doctoral dance pro- gram at Texas Women's University. Julie Siegel Werth (M.Mus. 1987) and John Werth (B.S. 1987) were married in July, 1993. The day before their wedding, they performed Mendelssohn's Concert- piece No. 2 at John's senior recital. John has switched to the music field (B.A. in music, 1993, Cal. State Northridge) and is now in his first year of teaching band, string ensemble, and choir at Ventura High School in California. Julie taught fourth through sixth grade general music in Renton, WA, for one year, fourth through twelfth grade band in Fillmore, CA, for two years, and is now in her fourth year of teaching band and orchestra at Balboa Middle School in Ventura. The Werths both play clarinet in the Gold Coast Wind Ensemble. Tonda Kemmerling-Graef (B.Mus. 1987; M.Mus. 1990) collaborated with Barbara Gonzhlez-Palmer for the ARD Munich International Competition. She also competed in auditions for the Central City Opera Apprentice Program, and is currently auditioning in Germany for various opera roles. Continued, page 16 Waging Peace with Music hen Wade Willis completed his B.S. degree in composition in 199 1, his goal was to compose for musical theatre. He got a pretty good taste of that entree by writing the score for an original musical, Mad Avenue, which premiered at Actor's Cabaret in Eugene in 1993. But musical theatre is a difficult-and limited-market to break into, let alone make a living at, so a year later Willis was ripe for a change. When he got a call from Bob Conte, a Eugenean with a history of coordinating relief work projects, Willis listened. Conte was putting together a team of people to work with Suncokret (soont-sok-ret), a grass-roots humanitarian aid organization in Croatia. Rather than provide food or medical relief like the Red Cross, Suncok- ret gives social relief by providing activi- ties for the Bosnian refugees who have been uprooted from their homes. The organization scrupulously avoids religion and politics, and volunteers are warned against imposing their personal belief systems on their subjects. The volunteers' main job was to brainstorm ideas for activities, to "make things happen." Supplies were hard to get, and very little money was available, so they had to be both imaginative and re- sourceful. Willis' team included three people from Eugene, two from Iowa, and one fromwashington, D.C. Willis actually worked in two camps near each other, totaling about 1,400 refu- Wade Willis gees. One of the camps was near a music school, and after hearing a student concert there, Willis hatched a plan. "When I heard these kids, I had the idea of raising some money to record a professional tape, with a professional cover, so they could see their name on it, hold it, and be proud of it for the rest of their lives." For the next three months, Willis worked with ten teenage musicians, ages 12-17. He set up keyboard lessons for them, half an hour, twice a week. Being a musician, Willis was readily accepted by the youngsters, even though language barriers required much of the teaching to be done by example, rather than verbally. "Thev were excited and readv for me." said Willis. All of the music school equipment was donated by an indi- vidual from Amster- dam, including a Yamaha DX-7 key- board, two electric guitars, bass guitar, and three acoustic guitars, plus a full PA system with mikes and amps. Willis raised about $650 from friends to get studio Three of Wade Willis' Bosnianpupilspose at the keyboard. Continued, page 16 ALUMNI NOTES, continued Anna Watson (B.Mus. 1991), also known as "Tunes," is teaching classroom music, beginning band, advanced band, chorus, guitar, and drama at Hamilton Creek School in Oregon. In May she was recog- nized at the Linn-Benton Distinguished Teacher Banquet for her "high energy, great voice, and ability to instill a true joy and appreciation of music in her students." Tim Curle (B.Mus. 1994) is working on a Master of Music degree in percussion at USC. He is also busy recording with film composition students and playing drumset for the studio iazz euitar denartment. + Thad Elvigion (B.S. 1948; M.Mus. 1950) died at the age of 72. He taught instm- mental music at the University of Oregon from 1955 to 1958. He was a musician, teacher and composer and was involved with the Eugene Symphony and the Very Little Theater. Elvigion also studied at the University of Amsterdam, and served in the US. Army during World Warn. John Charles Kienzle (B.S. 1951; M.Mus. 1956) died at the age of 71. Kienzle was a music teacher in Mapleton and Dallas before moving to Milwaukie in 1959. He then taught in the Noah Clacka- mas School District from 1959 until retir- ing in 1974. After that, Kienzle worke&as a remodeling contractor until 1982. He graduated from Eugene High School in 1941, and was a US. Navy veteran. Margaret McDonald (B.Mus. 1959; M.Mus. 1962) died April 2 at the age of 69. McDonald taught English and music for 25 years at Douglas High School in Winston. OR. She lived in Roseburz until - retiring and moving to Bend in 1984. She was active in volunteer work with the American Red Cross and St. Charles Hos- pital Auxiliary. J. Gilbert Knapp (D.Ed. 1967) died at the age of 67. Knapp taught music educa- tion classes and supervised student teach- ers at Oregon State University from 1960 to 1989. Born and raised in Belding, MT, Knapp came to Oregon to study music business and music education at Lewis and Clark College, and later received his HAVE WE HEARD FROM YOU LATELY? Let us and your fellow alumni know of your activities! Please give us your current address, particularly if you have moved recently. Photographs are welcome. ,m"------""""",------ 1 8/95 UO School of Music & Dance Alumni 1 I I WHAT'S UP? I I I I I I I 1 My current address: (please print) This is a change of address 1 1 Address 1 I city State Zip I I 1 Phone (day) (eve) I I 1 - I have more news to share! Please call me for a more complete update. I L-,,,,,,,,,,,,------------J doctorate from the UO. In 1980, Kuapp received a Fulbright and taught for a year in Glasgow, Scotland. He continued his music studies into retirement, studying several brass instruments and electronic music. He was a member of bands in Corvallis, Eugene, Salem, and Portland. + WAGING PEACE, continued time in Pula, a town so far untouched by the war. He also got some valuable musi- cal help from Dario Jungic, a Bosnian refugee who had given up his refugee status to work in the camp. The two of them arranged the music and decided on the instrumentation. When the time to record came, the pressure mounted, for they had very little studio time to get the job done. "I knew they had the talent; the con- cern was focus," said Willis. "But they were so awe-inspired by the process ... most of it was done in one take." Even so, the final mixing was completed at 3 a.m. the day before Willis left for home. Copying of the tapes was donated, as were the covers. The kids' reaction? "They were like peacocks," said Willis, "so proud of them- selves, strutting with pride..?' And their friends and family (most of whom ex- pected the project would he a hodge- podge) were impressed and proud as well. Looking back on the project, Willis says it gave him the satisfaction of being able to use his talents for a cause that became almost spiritual, "beyond my passion for music itself." And he knows that he gave an unforgettable moment of pride to a group of young refugees whose world had been depressing and empty for a long while. "If you could see those kids' faces ..." says Willis. "They did the work, I just gave them the facility to do it." Willis would like to find a way to market the tape, thereby making some additional seed money for Suncokret to continue these kinds of projects. In the meantime, Willis hasn't foygot- ten his original dream of writing for the stage; his next project is a musical based on his experience in Bosnia. If there is money to be made from that, he would want some to go back to his young friends on the other side of the world. + The following music and dance alumni are ofJicially listed as "lost. " Ifyou know the whereabouts of any of these alums, please call Alumni Records at (503) 346-31 78, or mail us the information here at the School of Music. 1911 Mrs. Lila C. Prosser Kennedy 1921 Mrs. Amelia E. DeFenis 1922 Mrs. Dorothy Dickev Bisbee 1923 Mrs. Alice f. Fee . 1923 Mrs. Ruth S. Hillstrom 1923 Mrs. A. V. Potter Griffith 1923 Ms. Ruth V. Stewart Caldwell 1924 Mrs. K. E. Gibson Peirsol 1925 Mrs. Ethlyn Forrest Hall 1925 Mrs. Katie M. Potter Frey 1927 Ms. Betty M. Alexander 1927 Mrs. Reta A. Collingsworth 1927 Mrs. Myrtle V. Jansson Clark 1927 Mrs. Grace E. Potter Weber 1928 Ms. Frances E. Dodds 1928 Mrs. Melba E. Macy Bums 1928 Ms. Violet A. Mills 1929 Mrs. Pauline R. Guthrie Baugh 1929 Miss Edith J. McMullen 1929 Mrs. Vera I. Ratcliffe Akey 1929 Mrs. Margaret L. Slusher Maaske 1929 Mrs. Margaret F. Smith 1929 Mrs. Frances C. Woodruff 1930 Mrs. Josephine H. Chapman 1930 Mrs. Juanita 0. Hendricks 1930 Mrs. Florence Elliott Hovey 1930 Mrs. Ceclie Coss Schradin 1930 Mrs. Noris Irving Wright 1930 Mrs. Berenice Ingalls Zeller 1931 Mrs. Esther Frost Magnussen 1932 Mrs. Ruby F. George Ames 1932 Miss Eva A. Gries 1932 Mrs. E. V. Kaser Metzgar 1932 Mrs. Bernice E. Neber Finley 1932 Miss Margaret D. Simms 1933 Mrs. Margaret L. Christinson 1933 Miss Elizabeth M. Evanson 1933 Miss Meta E. Grim 1933 Mr. Howard C. Halbert 1933 Mr. Clifton F. Iversen 1933 Mrs. Violet A. S. Jennings 1933 Mrs. Edonise B. Starkie 1934 Ms. Linda L. Hango 1934 Mrs. Margaret S. MacDonald 1934 Mrs. Bemiece B. Mahoney Sandquist 1935 Mrs. Loma Baker Massey 1935 Mrs. Floy Y. Potter 1935 Miss Maxine E. Santter 1935 Mrs. Edna M. Whitmer King 1936 Mr. Charles 1. Fahey 1936 Mrs. D. W. Howell Olsen 1936 Miss Norma M. Lyon 1936 Mr. Byrle B. Ramp 1936 Mrs. Margaret R. Yick 1937 Mrs. Lucille Dickey Morgan 1937 Mrs. Harriet M. Young 1938 Mrs. B. J. Tinker Bradshaw 1938 Mrs. Ellen Dixon Weeks 1939 Miss Ivy M. Cook 1939 Mr. Grover 1. DeCoursey 1939 Mr. Vinton H. Snyder 1939 Mrs. Jacqueline A. Wong Quan 1940 Mr. Fred J. Dallas 1940 Miss Ruth V. Fitch 1940 Mr. Robert L. Mack 1940 Mrs. Esther Von Lehe 1941 Mr. Richard N. Cory 1941 Mr. Ralph E. DeCoursey 1941 Mr. Leslie S. Irvin 1942 Mr. Donald B. Gaddes 1942 Mr. Leslie K. Hildenbrandt 1942 Mr. Emery S. Hobson 1942 Mr. Robert E. McFadyen 1942 Mrs. Margaret Y. Moore 1943 Mr. Zenas Butler 1943 Miss Elizabeth W. Cooper 1943 Ms. Anna B. Crisp 1943 Mr. W. R. Leonard 1943 Miss Lulu L. Pali 1943 Mrs. Ruth B. Westerlain 1944 Mrs. Phyllis E. Taylor Murphy 1945 Mrs. Edna Fisher Sharon 1947 Miss Margie E. Folsom 1947 Mrs. Leona Weber Ibach 1947 Mr. Jan Kok 1947 Mrs. J. F. Paris Wilkinson 1947 Mrs. Elizabeth A. Trump Pollock 1947 Mr. Lewis E. Vogler 1948 Ms. Jeanette F. Grant 1948 Mr. Robert L. Hirtzel, Sr. 1948 Mrs. B. E. Howard Halsebo 1948 Mrs. Aileen E. Koch Gordien 1948 Miss Muriel E. Light 1949 Ms. Florence B. Hart 1949 Miss Dorothea M. Scbaer 1949 Mr. Wayne M. Shenvood 1950 Miss Ethel 1. Anderson 1950 Mrs. Lucretia H. DeHerget 1950 Mr. Philip L. Jackson 1950 Mrs. SylviaE. Williams 1951 Mrs. Mary E. Hawkins Davis 1951 Mr. DesmondD. Hunsaker 1951 Mrs. Myrna Blizard King 1951 Miss Florence A. Martin 1951 Dr. Glenn T. Matthews 1951 Mrs. Carolyn Y. Oleman Muldy 1951 Mr. Robert L. Wievesiek 1951 Mrs. Greta Bostrom Woodbury 1952 Miss Audrey B. Brist 1952 Mrs. Donna Anderson Casey 1952 Miss Dolores A. Chivington 1952Mr. Charles K. Cockbum 1952 Mrs. Elizabeth W. Hayden 1952 Mrs. Delpha L. Holden 1953 Ms. Mary A. Swigart 1954 Ms. Shirley J. Foster 1954 Mr. Joseph T. Haugen 1954 Mr. John S. Munay 1954 Miss Donna-claire Ringle 1955 Mr. James M. Baker 1955 Mr. Forest G. Durland 1955 Dr. Karl D. Emst 1955 Mr. Robert 0. Fulkersdn ' 1955 Dr. Clyde H. Keutzer 1955 Miss Katherine 1. Olson 1955 Mr. Ray C. Walden, Jr. 1955 Mrs. Georgeanna K. Whistler 1956 Mrs. Carol A. Arneson Campbell 1956 Mr. Avery L. Glenn 1956 Mr. Barton A. McKagan 1956 Mr. Jack H. Sluss 1957 Mrs. Shirley I. Gamer 1957 Mr. Edwin R. Heppner 1957 Mrs. Ann Steams Kapelke 1957 Dr. Vondis K. Miller 1957 Miss Virginia Nye 1957 Mrs. Alvera F. Reddig James 1957 Mr. Robert E. Wagner 1958 Mr. Thomas C. Leckie 1958 Mrs. Zela R. Nielsen Tower 1958 Mr. Paul A. Pearson 1958 Mr. William F. Wood 1959 Mr. Romey R. Armes 1959 Ms. Norma E. Dyer 1959 Ms. Roberta M. Homing 1959 Mrs. Daisy A. McCain Martinez 1959 Mr. Rex L. Sutherland 1959 Mrs. Nan K. Wood Davies 1959 Mr. Roderick G. Wrieht - 1960 Mrs. Karen Deora 1960 Ms. Judith R. Walters Prehn 1961 Ms. Lucy L. Huaug 1962 Ms. Karen A. Kjelgaard 1962 Mr. Russel N. Larcom 1962 Mr. Mo H Liu 1962 Miss Sandra E. May 1962 Mr. Donald R. Murray 1962 Mr. Prince E. Schaeffer 1962 Mrs. Judith B. Uchytil 1963 Mrs. Karen Beal Chmszch 1963 Mr. Elmer M. Herron 1963 Mrs. Po-Young L. Kim 1963 Mr. Richard G. Pemn 1963 Mr. Jerry M. Reynolds 1963 Mrs. Gloria J. Schmidt Edwards 1963 Mr. Ted D. Sutherland 1964 Sister M. Rita Altman 1964 Mr. Robert A. Campbell 1964 Ms. Carole L. Ferguson 1964 Mr. Thomas G. Kirkpatrick 1964 Miss Maureen M. Kryszak 1964 Mr. Bany F. McDonald 1964 Mr. Lionel B. Newton 1964 Mrs. Joanne K. Satterberg 1964 Ms. Joan G. Wasson 1964 Mr. Kenneth P. Yoder, Jr. 1965 Mr. Donald R. Goodwin 1965 Mr. Franklin B. Johnson 1965 Miss Nancy L. Lawyer 1965 Mrs. G. R. Mortimore Johnson 1965 Miss Sandra L. Olsen 1965 Mr. James R. Sailors 1965 Miss Florence A. Womack 1966 Mr. Richard E. Gratton 1966 Mr. Maynard A. Hedegaard 1966 Mrs. Marilyn Campbell Himing 1966 Ms. Mie Ishizuka 1966 Mr. Ronald E. Johnson 1966 Ms. Vivian C. King 1966 Ms. Kathleen A. Mchtosh 1966 Mr. Henry E. Moffit (To be continued in the winter issue of Ledger Lines.)