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A.dministrationJalnes C. Scott, DeanThomas S. Clark, Associate Dean

Academic AffairsJon Christopher Nelson,

Associate Dean, OperationsJohn C. Scott, Associate Dean

Extemal AffairsJoán Groonr-Thornton, Director

Undergraduate StudiesGraharn Phipps, Director

Graduate Studies

StringsIgor BorodinJulia BushkovaJeffrey BradetichWillianr ClaySusan DuboisThornas JohnsonPauI LeBlancPhilip LewisEugene Osadchy

, Paul SharpeEllen Ritscher

WoodwindsDaryl CoadMary Karen ClardyDeborah FabianJames CillespieEric NestlerKathleen ReynoldsJames RiggsJohn ScottTerri SundbergCharles Veazey

BrassTony BakerBrían BowmanLeonard CandelariaJ. Keith JohnsonJan KagariceVern KagariceDonald LittleTerence ReynoldsWilliam Scharnberg

PercussionGideon Foli AlorwoyieJosé AponteHarrell BosargeChristopher DeaneMark FordHenry OkstelPaul RennickDan RobinsRobert SchietromaEdward SmithEdward SophPoovalur Sriji

PianoJoseph BanowetzBradley BeckmanJames GilesSteven HarlosBerthe OdnoposoffPamela Mia PaulCregory RitcheyJack RobertsVladirnir ViardoAdam Wodnicki

Piano Pedagogy & Group PianoR. Fred Kern

OrganJesse EschbachJoel MartinsonLenora McCroskeyDale Peters

Chamber MusicMark FordDan HaerlePhilip LewisEric NestlerKathleen ReynoldsWilliarn Scharnberg

Early MusicJoyce AlperLeonard CandelariaLynn EustisSara FunkhouserKevin HallLee LattimoreLenora McCroskeyLyle NordstromPatricia NordstromCynthia RobertsWilliam Schamberg

JazzTony BakerRosana CalderonNathan CookDan HaerleFrederick HamiltonNoel JohnstonJoseph LeeJohn MurphyJames RiggsParis RutherfordJay SaundersLynn SeatonNeil SlaterEdward SophMichael Steinel

CompositionThomas ClarkEdilberto CuellarJoseph KleinCindy McTeeJon Christopher NelsonJoseph RovanPhil Winsor

Wind StudiesEugene Migliaro CorporonDennis FisherFred Vélez

OperaDavid CloutierStephen DubberlyPaula Homer

OrchestraAnshel BrusilowClay CouturiauxLyle Nordstrom

ChoralHenry CibbonsRosemary HeffleyJery McCoy

VoiceStephen AustinRose Marie ChisholmLinda Di FioreLynn EustisCody GarnerHarold HeibergJolyne JeffersJulie McCoyLaurel MillerJuanita PetersJeffrey SniderDavid Sundquist

Music HistoryLester BrothersDeanna BushMichael CollinsJ. Michael CooperElizabeth Hinkle-TumerBernardo lllariMark McKnightLyle NordstromMargaret NotleyDale Peters

TheoryGene ChoThomas ClarkPaul DworakFrank HeidlbergerJoán Croom-ThomfonTinrothy JacksonR. Fred KernRosemary KillamMichael McVayCraharn PhippsStephen SlottowThomas Sovík

EthnomusicologyGene ChoSteven FriedsonThomas Sovík

Music EducationAlton CorleyHildegard FroehlichRosemary HeffleyWanen HenryMargaret HudnallKanell JohnsonDarhyl RamseyDebbie RohwerRoger Wamer

aNEI'YS FROM THE DEAN

As this issue goes to press, I am pleased tohave the last-minute oppoftunity to sharenews of the largest single endowment fundat the University of North Texas. The for-mal announcement was part of our Dean'sCamerata Appreciation Dinner, just before astunning performance of Mahler's secondsymphony by our Symphony Orchestra andGrand Chorus. Bill and Margot Winspear, our long-time patrons andsupporters, have established an endowment of $1.7 million in sup-port of scholarships and faculty enhancement. The keystone of theendowment will be the Margot Winspear Excellence Award for acontinuing student in voice, which will be the most prestigiousaward in the College. Expansion and perpetuation of the Shraderscholarships and the Winspear Scholars a\l/ards aceount for thegreater part of the estimated $85,000 per year income from theendowment. The faculty enhancement portion will represent the firstendowed funds dedicated to the purposes ofboth bringing in guestsfor residencies and master classes and providing professional devel-opment oppodunities for regular faculty. The Winspears previously

\contributed $1.5 million toward the completion of the Murchison-/ Performing Arts Center, making possible the Lyric Theater, which is

now home to our opera program. They have thus added substantiallyto all three areas ofongoing need: facilities, student support, andinstructional excellence.

Although we will tell you more about our new faculty in the fallissue, I also want to take this opportunity to let our alumni andfriends know what an extraordin ary year we had in faculty searches.Altogether we searched for seven tenure-track positions, two of themrepresenting actual expansion of the faculty. We have just now com-pleted bringing all seven searches to successful conclusions. InMusic Theory, Stephen Slottow and David Schwarz will becomeregular faculty, both having served previously in visiting capacities.Music Education will be enhanced by Donna Emmanuel and AlanMcClung. Eileen Hayes will join us in Ethnomusicology andGustavo Romero in piano. Stefan Karlsson, one of our very success-ful alumni, will return to assume Dan Haerle's duties as Dan beginsretirement. All of these people impressed us immensely by both theirprevious accomplishments and their visits to campus. We have everyreason to believe in the future of the College of Music when we areable to engage such outstanding faculty to preserve our legacy andadvance the College still further.

Cover photo: C.E.M.l. director Butch Rovan in the lab with student Peter McCulloch,

(

Cenler lor Conlemporory Studies in Music EducolionJulie Scott, direclor

Cenler for Experimenlol Muslc ond lntermed¡oJoseph Rovon, director

Cenler for Schenkerion SludiesTimothy Jockson, direclor

Texos Cenler for Music ond Med¡clneKris Chesky, reseorch ond educotion direclor

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l^\qunterpoint\gþfrai c from^ N orth rexas

Meet the DeanAn Interview withJames Scott

Dan Haerle Reti4es

Faculty News

Celebrating Harold Heiberg

Crossing Borders

C.E.M.I. (cover story)

New Scholarship FundsAnnounced

Alumni News

Alumni Spotlight

From the Archives

Spring 2002

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Counterpoint is published bi-annually bythe Universiry of North Texas Collegeof Music.

EditorRachel Clarke

ContributingVritersAmy Evans, Karen Lim, Edward Perez

Editorial AssistarrtsJames Gillespie, Edward Perez, LindaStrube, Elida Tämez

Design & LayoutEmily Bryant

CEMI Photography z

Jonathan Reynolds i

UNT College of MusicAttft CounterþointPO Box 3n367Denton, 'lX 76zq-ry67rclarke@music.unt.edu

SPRING 2OO2

In August of zoor,the College ofMusic came underthe leadership of anew dean, Dr.

James C. Scott.We took a fewmoments of histime to ask himsome questions so

you, our friendsand alumni, mayget to \now him as

we have.

Counterpoint: How are youand your family settling intoDenton and the DFWMetroplex?

Scott: We feel that a communi-ty is ultimately much more itspeople than its buildings androads, and we continue to enjoybuilding new friendships in thelarger community as well aswithin the University. We alsoenjoy the easy access to theentire metroplex and surround-ing area.

Counterpoint: Was there one par-ticular "selling point" that clinchedyour decision to come to UNT asthe Dean of the College of Music?

Scott: It was more a constellation of factors-the qualityand comprehensiveness of the College of Music, the qualityof leadership at the campus level, and the proximity to amajor urban cultural center. But, none ofthese factorswould have mattered had it not been for the powerfulimpression made by the dedication and excellence of a wel-coming faculty.

Counterpoint: For many years before you came to UNT,you were a music professor at other universities. Do youmiss being in the classroom/studio?

Scott: Yes. I have over 35 years ofteaching behind me andmany students whose continuing friendships remind me ofthe incomparable satisfaction of teaching. However, rnyrole as dean calls for me to rnentor junior faculty and guidearlistic decisions-activities which involve the essence ofteaching.

Counterpoint: At what age did you begin studying music,and what instruments do you play?

Scott: I starled piano at the age of 7 and flute at the age of8. A series of four broken arms (deriving from such child-hood pleasures as bicycles and horses) before I reachedhigh school curtailed piano work, but not the flute.Although I have done professional work on both, it is prob-ably those early years that determined the leading edge forthe flute, which still continues.

Counterpoint: What is your favorite piece to perform in anensemble?

COUNTERPOINT

Scott: When I'm working toward a performance, the reper-toire for the next conceft usually becomes my favorite.'Whether as a pianist or flutist, I've always been drawntoward music including voice, but that preference, too, isquickly forgotten in preparing a charnber rnusic conceftwith strings.

Counterpoint: Now that you have been Dean of theCollege for nearly t'wo semesters, what would you say areits strongest points, and where is there room for improve-ment?

Scott: The size of the school, which implies its compre-hensiveness and its diversity, is simultaneously one of itsgreatest strengths and greatest challenges. The large com-munity of excellent faculty and students provides a wonder-ful setting for intellectual and artistic ferment, but our goalof serving each student appropriately in such a vast enter-prise is daunting. We believe in giving a chance to studentsof widely varying backgrounds, but we are also proud ofthe standards we set and the high-quality opportunities weplovide to many world-class talents.

the Dean/^\

Counterpoint: In what ways would you like to see theCollege of Music grow over the next f,rve years?

Scott: Before speaking ofnew initiatives, I need to reaÊfirm my commitment to the protection of the manystrengths that have been developed over the years. Althoughwe are just beginning a strategic planning process, I willwant us to consider advancements in the mentoring of grad-uating teaching fellows in the integlation of our variousinstructional pursuits, in our attention to international pro-grams, and in the services and offerings we provide our stu-dents in career development.

Counterpoint:What is your impression of the COM'snewest facility, the Murchison Performing Arts Center?

Scott The Murchison provides not only an exceptionally finespace in ten¡s of acoustics and ambiance, it also stands in ourregion as a completely professional perfonnance venue, provid-ing the public with an appropriate image for music at UNT and,our student ensembles with a sense of the import of their work. Aspace such as Winspear Hall inspires the best possible peform-ances and the highest levels of audience receptivity. It is impor-tant though, to maintain a sense of the dignity, prestige, centrality,and performance quality of all of our perforrnance spaces. Much.of our finest music making will continue to take place in the L-Music Building.

lazz Gre atr Reffires

bonist. Equipped with adolescent stubborn-ness and Vol. 2 of the Jamey Aebersoldlmprovisation play-a-longs, I embarked ona journey to learn how to improvise. Ofcourse, I did not really rneet Haerle, per se,but I did try to jam with his piano comp-ing. After all, he was the guy laying downthe piano tracks on that play-a-long.Sixteen years later, I walked into his officeat the University of North Texas to inter-view him.

At f'rrst glance, you'd never guessHaerle to be a jazz giant. But take a look atthe plethora ofphotos adorning his officewalls and you will see the scope of hisevolution. Listen to him speak and youwill hear all the wisdom and experience ofa well-traveled blues singer. And his unas-suming demeanor gives off an aura ofrelaxed confìdence, perhaps even content-ment.

Decidedly humble, he wouldnever admit to his broad influence onmusicians like rnyself, who indirectly stud-ied with him; nor would he take credit forhelping the various musicians who havecome into his studio or attended his class-es. And after 40 years (the last 25 at UNT)ofteaching countless students the philo-sophical ins and outs of jazz, musicianship,

hen I first became acquaintedwith Dan Haerle, I was a l5year-old struggling jazz trom-

by Edward Perez

(_,

and life, Dan Haerle will retire.No musician, especially one as

versatile as Haerle, ever really retires, theyjust move on to the next gig. "lt's time,"says Haerle, who looks forward to beingable to devote time to family and variousprojects. "It's just been fun, a real pleasureand a privilege to work with the kind ofstudents and faculty we have here atUNT,''

While his impact on the jazz stud-ies program will undoubtedly continue,Haerle says his departure could be goodfor the jazz department in terms of having"new blood." "l have been here longenough, and I am ready to enter a newphase in my career as a musician," saidHaerle.

Born in Qulncy, Illinois in 1937 tomusician parents-mom was a singer/violin-ist and dad was a trombonist-Haerle wasimmersed in sound. And even though hisfather would sneak him into clubs to listento the music and watch the musicians, bothparents initially tried to dissuade him frompursuing a career in music.

"They knew what a musician'slife was like and thèy did not want that forme, but they finally gave in and let metake lessons," recalls Haerle, who beganlearning piano at the age of 12, afterattempts on the clarinet and trombone.

In high school, Haerle also played

c)nl on pg I

SPRING 2OO2

Gideon Alorwoyie and the UNT African Ensemble presented a clinicat the Percussive Arls Society International Convention. Paul Rennickand the UNT Cyrnbal Line also presented a clinic. Christopher Deaneperformed with Mark Ford on Theresa Diamond's clinic.

Brian Bowman appeared as a guest soloist with the WesternKentucky University Band and also presented a clinic on brass playingon October 9,2001.

John Michael Cooper's book FelixMendelssohn Bartholdy: A Guide to Research,with an Inlroduclion lo Research ConcerningFanny Hensel has been published byRoutledge in New York (2001), Cooper pre-sented a paper entitled "Recent Recoveriesand Discoveries in Mendelssohn Research" ata lecture at the Juilliard School at LincolnCenter during the week ofJanuary 25,2002.Cooper and business partner Stephen Somaryare involved in a comprehensive multi-yearproject to record the complete works ofMendelssohn, including more than 250 which have remained unpub-lished and unknown since the composer's death in 1847. On Friday,February 1, the Amor Artis Chorus and Orchestra gave a concert inNew York devoted to works by Mendelssohn which were rediscoveredand edited by Michael Cooper. The program featured two world pre-mieres. An afticle was featured in The New York Times in Februarydetailing Cooper's efforts.

The Fall 2001 editionof BackstagePASSmagazine featured acover story on fluteprofessor Mary KarenClardy. Titled "Grace& Balance," the articlediscussed Clardy'smulti-faceted career asperformer, teacher, cli-nician, and writer,

Christopher Deaneperformed HannonìcRhyrhm, a timpani con-cerlo by Russell Peck,with the WesternPiedmont SymphonyOrchestra in Hickory,North Carolina onJanuary 26,2002.

Lynn Eustis, soprano, and Jeff Snider, bari-tone, were soloists in Carnina Bttrana at

^Bass Perlormance Hall with the Forl Wofh \Dallas Ballet on October 5-7,2001. Eustisalso performed the solo canTata Diane elActeon with the Dallas Bach Society as partof the Valentine's Day program, and sang therole of Gabriel in Haydn's The Crealion(February 23-24,2002) with the SusquehannaValley Chorale and Orchestra in Sunbury,Pennsylvania.

AUR Records released Mark Ford's new solo rnarimba CD, MotionBeyond, in Novernber, which features the UNT Percussion Ensembleand the UNT Wind Syrnphony. Ford also perforrned a showcase con-cerl at the Percussive Arts Society International Convention inNovember in Nashville.

Hildegard Froehlich returned from her Norwegian lecture trip asnewly elected president-elect ofthe international music educationorganization RAIME (Research Alliance of Institutions of MusicEducation).

Harold Heiberg gave a two-hour master class in German Lied for fhefall workshop of the DFVy' Chapter of N.A,T.S. at Southern MethodistUniversity on October 7 , 2001.

Frank Heidlberger went to Germany in October for l0 days for a lec-ture tour: at Wuerzburg (Episcopal College) he gave a masterclass onArvo Paert and the sense of mystery in postmodern sacred music and, --.contributed a lecture to the opening ceremony of an Arnold (Schoenberg exhibition; at Detmold (Musikhochschule) he was active -in leading the annual meeting of the International Carl Maria vonWeber Society,

Elizabeth Hinkle-Turner, adjunct faculty in Music History, receivedan ASCAP Composer Grant for 2001.

Bernardo Illari read the paper "Baroque Music and Ethnic Silence:Jesuits, Guarani and Chiquitos in South America" at the symposiumMusic and Dance in the Missions, at Our Lady of the Lake Universityin SanAntonio, on October 27,2001. On Septernber 20,2001,theInstituto de Musica of the Pontificia Universidad Católica of Chileissued the rules for the Musicology Prize Samuel Claro Valdes 2002,given every two years to the best short paper on Latin Ameriean musicsubmitted by a young scholar, Illari has been designated jury rnernberand was the first scholar ever to be awarded the prize, for his 2000paper "Ïzuola, criollismo, nacionalisrno y Musicotogia."

J. Keith Johnson's book.Brass Performance and Pedagogy has beenpublished by Prentice Hall.

Vern and Jan Kagarice were recitalists and clinicians for the 8thannualBrazilian Trombone Festival in Salvador. They also spent timeresearching the life and music of the late Gilberto Gagliardi, distin-guished brass teacher and composer.

Joseph Klein was the featured guest composer at this year's American MusicWeek at the American Univenity in Bulgaria (November I 6- I 9, 2001 .¡. Durinihis residency, he oversaw the perlonnance oftwo new works, conducted the \;premiere performance of a song cycle by lølian composerAndreaAgostini, andpresented a lecture on notational systems in recent American music.

Linda Di Fiore perfolmed the alto solos in a Messiah workshop atPreston Hollow Presbyterian Church. In addition, she performed therole of Cyrus in Handel's Belshazzar with the Orchestra of New Spainin the Meadows Museum of Art in Dallas and in Temple, Texas.

Stephen Dubberly has been appointed to the board ofdirectors oftheNational Opera Association. He is already serving as governor for theSouth Central region and chair ofthe chamber opera compositioncompetition.

Jesse Eschbach presented two papers at the 4lstAnnual Conference on OrganMusic at the University of Michigan, Ann Arbor on October 9-10, 2001.

COUNTERPOINT

Don Little retiled frorn the Fort Worth Symphony Orchestra after-lbeing principal tuba for 21 seasons, since 1980. He plans to spend

nore time at the university and with his family and will continue play-ing tuba and cimbasso with the Dallas Opera.

Jerry McCoy recently conductecl high school honor choirs inLubbock and Carrollton, Texas, and Las Vegas, Nevada, in addition toserving as guest clinician for Vy'estern Washington University'sChamber Choir Festival. He was guest conductor of the OklahomaAll-State Choir, January 17-19,2002, in Tulsa, Oklahorna and alsoconducted the TMEA Region 8 All-Region High School Choir inKilleen.

Lenora McCroskey, artistic director of Fort Worth Early Music, ledthat ensemble in three concefts over September 1-7; two concerls werepart of the l5e Feslival Mnsique en I'lle, in I'Eglise Saint Louis enl'lle, Paris, and the other, part of Sinfonia de Périgord, in I'Abbaye deBrantôme, near Perigueux.

Composition professor Cindy McTee received an award in rnusic bythe American Academy of Arts and Letters. McTee is one of four win-ners, including Claude Baker, Daniel Becker, and David Liptak; shewill receive $7500 toward the recording of one work.

Bocksl(tgePass i,s o registerecl trademark of theYttmalta Corporation of America

John Murphy gave a talk on connectionsbetween jazz and artists in the exhibition,Visionary Connoisseurship: The Mari andJames A. Michener Collection of 20th CenturyAmerican Art, and sat in with a local jazzgroup at the Amarillo Museum of Art on

'February 14,2002. Murphy also gave a talk'/on Bessie Smith at the Dallas Theater Centeron March 3,2002 in conjunction with the pro-duction of Blues in the Night.

video tracking system and dancers. Rovan shares the award with cho-reographer Robert Wechsler and programmer Frieder Weiss.

Jon Christopher Nelson is the recipient of anInstitut International de Musique Electroacoustique de Bourges(IMEB) Commission. This commission includes a one-month residen-cy in Bourges, France to work in the IMEB electronic music studios.Nelson's cornposition Scatter has been selected for inclusion in theAmerican Cornposers Forum Sonic Circuits IX compact disc recordingproject. In addition to the recording, the work will be programnred atnulnerous conceft venues throughout the upcoming year as a result ofthis project.

Hal Leonard Music Publishing has releasedParis Rutherford's new group ofvocal jazzarrangements this month. Paris was also thevocal jazz clinician for the Cedarville SouthernOhio Jazz Festival.

Lynn Seaton participated in the NationalAssociation for Jazz Education InternationalConference in Long Beach, California, January9-12,2002. He performed for the New VocalJazz reading session and also performed an

original work by Dr. Wiltis Kirk, Rejoíce, Rejoice, a jazz oratorio withchoir and jazz orchestra for the African American Caucus. InFebruary, Seaton was a guest at the University of Nofth Dakota wherehe gave a bass workshop, adjudicated a big band festival and per-formed with the UND big band. Sigma Alpha Iota honored Seaton bynaming him a National Arts Associate.

Stephen Slottow's paper "Fifths and Semitones: A RugglesCompositional Model and its Unfoldings," which won the MusicTheory Society of New York's 2000 Emerging Scholar Award, waspublished inTheory and Practice (vol.25).

II

Butch Rovan's recent composition sefuehohle Fonn, for interactive computermusic, video tracking system and dance,was awarded a mention in the 2001Bourges International Electroacousti cMusic Competition; the same piece wasalso selected for the prestigious School ofVlsual Arts Ninth Annual New York DigitalSalon, where it will be featured in NewYork for a month before traveling on aninternational tour. His piece for solo pianoMiro Sketches: Mostly Yellow was justreleased on Wergo by pianist GuyLivingston. Rovan won first place in the

,/ 1 5th anntal Transmediale InternationalMedia Art Festival, held in Berlin, for hisinte¡active work seine hohle Fonn. Thework is for interactive computer music,

Coordinated by EricNestler, the NASA confer-

ence brought over 500 saxo-phonists from the United

States, Canada, Costa Rica,United Kingdom, ltaly, and

France to participate in threedays of nraster classes and

rnusic-making.

Ttre zoozNorth AmericanSaxophone Alliance RiennialConference held at LD\rf,lvlarch6-9.

Back row: Eric Nestle¡ Fred HemkeFront row: COM students Nathan Mandel, Thryn Leonard,Tim Brown and Jimrny Lee

SPRING 2OO2

Larry Austin retired from his 38-year acadernic career in 1996. He resides with his wife Edna at theirhome in Denton, Texas. Working in and out of his Denton studio, Austin continues his active composingcareer with commissions, tours, performances, writing, recordings, and lecturing. He anticipates futureextended composer residencies in North America, Japan, and Europe.

classical bass and it was this skill thatearned him a scholarship to Coe Collegein lowa. "l had a bass scholarship; jazzpiano was just a hobby," said Haerle,who also played vibes for about l0years. After graduating from CoeCollege in 1961, Haerle taught elemen-tary, junior, and high school music atTri-County Community Schools in'WhatCheer, Iowa. Two years later, he decidedto go back to school and pursue a mas-ter's degree in composition.

Like most composers, especial-ly those of a more classical nature,Haerle says he dreamed of having hisworks performed by orchestras such asthe New York Philharmonic. This tradi-tional approach led to his first universitygig in 1966 at Kansas State Universitywhere he taught freshman and sopho-more music theory. In 1968, however,Haerle would begin his career as a iazzeducator. Teaching everything from jazzhistory and improvisation to jazzpianoand arranging to directing jazz ensem-bles, Haerle took positions at MontereyPeninsula College in California, theUniversity of Miami at Coral Gables,Florida, and at Arizona State Universityin Tempe.

In 1977 , Haerle came back toNorth Texas. "Like any normal studentyou just want to finish the degree, leaveand conquer the world, and when I grad-uated in '66, this is the last place Ithought I'd wind up I I years later," saidHaerle. "l remembered the high standardof musicianship and the excellent play-ers and I thought I might not have any-thing to teach." Twenty-flrve years later,Haerle's impact and influence is feltthroughout the College of Music.

"Dan is one of the most caringindividuals I've ever had the pleasure ofmeeting and working wifh," says jazzassistant Darla Mayes. "He is a truly

wonderful person." Jazz bass professorLynn Seaton refers to Haerle as a livinglegend and a pioneer of jazz education."Dan Haerle is an icon in jazz education.His teaching at jazz camps and universi-ties has enabled so many students togain a greater understanding ofthemusic and he has inspired and propelledmusicians all over the globe to becomebetter at their art and to become betterhuman beings," says Seaton. "I shallmiss working beside him so very much."

John Murphy, a student ofHaerle's in the 1980s and now a col-league at UNT, said Haerle's inventiveimprovisation and sensitive accompani-ment teaches as much by example as itdoes by explanation. "When it comes toexplaining improvisation, he does it in away that enables novice improvisers tostart frguring things out, and advancedones to keep working on new chal-lenges," said Murphy. "His teaching hasenabled countless numbers of UNT stu-dents to figure out not only the art ofjazzbut the art of living."

Haerle's educational efforts andenergetic enthusiasm permeate all of hispersonal and professional endeavors.Having collaborated with jazz legendssuch as Stan Kenton, Clark Terry, DaveLiebman, Mel Torme, Kai Winding, andFreddie Hubbard, among others, Haerleremains confidently unassuming.Considering his authorship of severalmethod books on various jazztopics andhis stalwart presence on the aforemen-tioned Aebersold play-a-longs, Haerle'sdown-to-earth persona emits an unpre-tentious inspiration.

"I consider myself a very luckyguy," admits Haerle, referring to allaspects ofhis career. "And I am notburned out on teaching, I amjust readyfor a new phase."

Side bv Sideby"Heiberg

COUNTERPOINT

-Tlrc College af Musie;cele brate s with þl arrsldHeiberg an the eve ofhis BAth biftt,d"y Formersrudents

Jeann¡ne Crader,

"8:J;J'(#i"??:iñion February 5, Winspear Performance Jåilåi:ifiiåi:llHall was abuzz.old friends and new d;""H:"'i|3:1l-

concert festivities.

Elizabeth Jackson (soprano)and Harold Heiberg (piano)perform Wagner's "Traüme"

(Wesendonck Lieder) to amesmerized audience.

o (]tienas alike gathered for the opportunity

to wish Harold Heiberg a happy birthday

in the most appropriate way, through song.

Current and former students from across

the country and members of the COM fac-

ulty, showered the audience with arias and

duets, often with Heiberg at the piano

accompanying. A few poignant speeches

crowned the night, bringing to the stage

the sentiments felt by all those with the

opportunity and the luck to have worked

with Harold Heiberg.

lt

þlü\ç

t,," , \'l

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(L-R) ln beautifulharmony, Barry

Craft (tenor) andJeffrey Snider

(bar¡tone), w¡thJohn Tarver

accompanyrng,perform the Bizetduet "Au fond du

temple saint "

withaccompaniment

from MarkMetcalf, former

Heiberg studentKay George

(soprano) sings"Mi tradi quell'al-ma ingrata" from

Mozart's DonGiovanni.

SPRING 2OO2

The College ofMusic fosters a

strong relationshipwith sister city

Brno in the CzechRepublic

by Karen Lim

il, ; I-

i':r'

the Pefforming Arts (JAMU) in the Czech Republic.Sovík first became involved in 1990 as Dallas

was searching for a sister city in the Czech Republic. WithPlague already "sister-ed" to Chicago, Dallas looked to thesecond-largest city in the Czech Republic, Brno: a city of300,000 people and the home of the Janáðek Academy ofMusic and the Perfolming Arts. As vice-president of theDallas Commission for Sistel Cities, and with his strongconnection to the Czech Historical Society in Dallas,Sovík was an ideal choice to lead the filst Brno-Dallasentourage of 95 people overseas to initiate the sister-citiesrelationship.

When Sovík filst walked into Brno's JanáðekAcademy of Music and the Performing Arts, perchance, hequickly realized the potential of yet another possible lela-tionship, a sister-universities relationship between theUNT College of Music and JAMU.

"I walked into the Janáõek Academy and askedthem if they would be interested to have an exchange withthe College of Music, because the University of NorthTexas was the second largest school in the United Statesand the Janáðek Academy was a very famous school in theCzech Republic," Sovík said.

It was too tempting an offer for the Janáðek

COUNTERPOINT

or more than a decade, University of North Texasmusic professor Dr. Thomas Sovík has coordinat-ed a cultulal exchange between the UNT Collegeof Music and the Janáðek Academy of Music and

^

Winter at the Janáðek Acaderny of Music and the Pelf'on¡ing Ar:ts.

Academy to refuse, and when Sovík leturned to Denton, \ -

he approached Steve Farish (the interim music dean at thetime) about establishing a sister-universities relationshipwith JAMU. Farish accompanied Sovík on a subsequenttrip, during which Farish performed in several concerts inBrno. That trip marked the College of Music's first offi-cial visit to the City of Brno and kicked off the SovíkAdv enture Tours. How ever', the sister-universities relation-ship between UNT and JAMU was not finalized untilUNT vice president Blaine Blownell visited Brno andsigned the official document, establishing the foreignexchange, Sovík said.

The establishment of this relationship has resultedin nineteen Adventure Tours during the past l2 years, andit has given UNT faculty members Prof.'s Jolyne Jeffers,Eric Nestler, Dale Peters, Jack Roberts and others theopportunity to present lectures, performances and master'classes to students at the Janáðek Academy.

For associate dean Dr. Thomas Clark, last year''svisit to Brno represented his fifth visit. "The main reasohfor my visit was to conduct the performance of two of mycompositions in a concert...for a professional concertseries that was held at the facilities of the Czech Radio,"Clark said. While in Brno, Clalk also taught English class-es at the academy and presented lectures about Amelicanmusic, in particulal about what composers here at UNTare doing right now at the turn of the millennium.

"On these tours, the College of Music has its fac-ulty and students giving recitals, so that the JAMU stu-

. ,,Ã

r0

.,Vichnov Castle in southern Mo|avia, one of the many spectacular sights to sec outside Brno.

dents can hear what we're doing," Clark said."Apart from these performances, UNT

students are also given the opportunity to minglewith the Czech students and compare diverselevels of playing," Sovík said. "Not only do ourstudents get the chance to talk with the Czechstudents, they also have the opportunity as thecollege's teaching assistants to spend the dayteaching these students," Sovík said. Thisopportunity to work with students at the JanáðekAcademy has allowed abundant interactionbetween the American and Czech students, hesaid.

It's not all work and no play. "One-third of the time is devoted to attending culturalevents and touring castles and underground cav-elns in southern Moravia," Sovft said.

UNT student Amanda Gauger, who hasvisited Brno twice, said she initially went on thetlips because she loves to travel, but after going,she fell in love with the lich culture. "At a winecellar party we heard some traditional Czechmusic being played, and Czech students weresinging along and dancing," recounts Gauger."That was awesome and really cool that tradi-tional music and dance is passed down througheach generation. It was impressive that people

¡i:þ

rt it i,'i¡ Jriil

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Brno nøtiae, Vilént Spillca

my age still hold traditions and helitage in highregald."

Brno native Vilém Spilka, one of threeJAMU students who has come to study at UNT,believes the cultural exchange is valuable."From my point of view. it is very important todevelop the oppoltunities to compare lifestylesand mentalities of both nations," explainsSpilka. "It is in most cases enriching for bothparties."

When asked what motivates Sovík totake on these responsibilities of overseeing thesetours, he replied: "These Sovík Adventure Toursare geared to providing American students theopportunity to venture abroad and experiencewhat it's like to be a foreign student in anothercountry where not everyone speaks English andthings don't work the way they work in theUnited States. It becomes an eye-opening expe-rience that changes the students'perspectives onlife-that's why I do it.",,

SPRING 2OO2 ll

C.E.M. I.computers

Skitts

composi tioni thre

andIf a tree fàlls in the woods with no one

alound to hear it, does it make a sound?We have all heard this rhetolical ques-

tion and while physics (and common sense)tells us the answer is yes, a case can be madefor the contrary. Ifno one is around to hear it,then the "sound" was never received and/orprocessed - at least not by human ears.

This quandary raises other questions,such as: 'What is sound? What is noise? What ismusic?

At the University of North TexasCollege of Music, composition students exam-ine the perplexities of sound - both acoustic '/

and electric at the Center for ExperimentalMusic and Intermedia (CEMI).

"CEMI is the computer music side ofwhat goes on here in the College of Music,"says Dr. Jon Nelson, fbrmer director of CEMIand present associate dean ofoperations.

Established in 1963 as the E,lectronicMusic Center (EMC) by the late Merlill Ellis,the Center began as a tape music studio in anold Denton home on Mulberry Street with atnission to foster the creation, production, anddissemination of experirnental cornputer rnusicand intermedia. Renarned in 1983 for expandedresources, facilities, and activities, CEMIenjoys intelnational recognition as one ofthewolld's most renowned centels fol cornputermlrsic education, composition, research, andconceft ploduction. CEMI's intelnational con-nections include active collaborations with sim-ilar music centel's around the world, includingthe Instilut de recherche et coordination acolts-tique/musique (IRCAM) in Paris, Ihe InstitttlInternational de Musique Electroacouslic¡ue deBourges (IMEB), the computer music center atMcCill University, and the University ofBirrningham. \z

CEMI is also one of the foundingorganizations in the Consortium for theDistribution of Computer Music (CDCM).

century010100001010IIl I00000 r 0110100000010'r11LlI O"L O

I0 f 0

21s t

Other f'ounding studios include The Breguran ElectlonicMusic Studio at Dartmouth College, Center'1'orContemporary Music at Mills College, Experiurental MusicStudios and Cornputer Music Project at the Univelsity of

^llinois, iEAR: Integrated Electronic Alts at the Rensselaer'Polytechnic Institute, and the Winham Laboratory atPrinceton University.

Faculty and students involved with CEMt haveexperiment in the cornbining of computer graphics, dance,sculptLrre, creative writing, and web-based technologies,advancing the possibilities of rnusical expression. Conceftsare a key component to the lealning experience and severalconcert/lecture series are ploduced through CEML The"Centerpieces" and "Composer Forum" conceft seriesshowcase the latest computer rnusic and intermediareseal'ch being done at CEMI. The "MLrsic Now" lectureseries presents technical seminars, perfonnance ofnewworks, and theoretical analysis of conternporary works withpresentations given by UNT faculty and visiting guestartists.

Sophornore composition major Jessica Leza,became interested in electronic music by attending CEMIconcerts.

"['rn presently an acoustic composer'," says Leza."But I think electronic music is fascinating, some of thepieces are like musical representations of drearns. I'rn defi-nitely interested in composing electronic rnusic."

Jeff Morris, one of five CEMl-tech graduate assis-tants, says computer skills are increasingly becoming a nec-

\lssary componelìt of a cornposer's cralt.,) "[ cotnpose tnore for acoustic instruments thanelectronics," admits Morris. "But I also often use comput-ers to assist in analyzing source structures and translating

by Edward Perez

12 COUNTERPOINT

Grand Disklavier. Visually, the MEIT boasts three plojec-tion screens (each two floors high), a VHS and DVD plo-jector, and a lighting system. The overall flexibility of'theaccoutrernerlts allows f'or a wide variety olconfigLrrationsf'or theatrical, multirledia, acoustic, and electronic pro-grams.

Dr. Joseph Butch Rovan, assistant plofessor ofcornposition and current director of CEMI, says CEMI'sstrength lies in its incorporation with the compositiondepartment.

"We're quite different hele," explains Rovan."CEMt is really integrated with the compositiorì divisionand this shows that electronic music is rnore of a normalthing, it's not an elitist endeavor, it's just another way ofmaking r.nusic using different tools and you actually lrave touse the sarne set of rnusical ears that yoLt would fol anacoustic composition."

Rovan says it is good for composers to learn aboutelectronic music even if they don't necessarily compose it.Since 1988, UNT doctoral composition students have hadthe option of earning a specialization in computer music.The program allows students to take l5 credit hout's ofelectronic-related courses and this gives students the neces-sary time to devote to compositional projects. Time hasalso played an important part in increasing the awarenessand acceptance of electronic music.

"People nowadays readily accept electronicsounds as nonnal," says Rovan. "The audience and thetechnology have evolved to a point where they are rnore inphase." Rovan also says the ongoing process has beenrnoving toward more real-time tools with the computer act-ing as a virtual performer.

"Now that the cornputer can be used in a conceft,them into musicalexpressions, whichmight be called'acoustic' computermusic."

According toMorris, CEMI's widerange ofprofessionaltools, its wing ofoffìces, studios anddedicated perfonn-ance hall make it aworld-class facility.

"Our'stlengths in interac-tive rnusic are diffi-cult to find else-where," says Morris.

lI

{

ln addition to having three, eight-channel studios,students and faculty are able to use the state-of-the-artMerrill E,llis lntermedia Theater' (MEIT).

Named after founding composer, the MEIT israinted black with black velvet curtains covering the Front

/surface, allowing f'or different acoustic sirnulations. Theaudio set-up ir.rcludes an eight-channel sound diffision sys-tern with eight JBL speakers, QSC Power Bass I Arnps,Mackie 3218 mixer, Alesis ADAT, and a Yamaha Baby

Craduate students Chaprran Welch ancl Jeif Monis at wolk in thc C E.M.l. studio

in real-time, in the moment,it rnakes the cornputer aninstrument and it creates areal dialogue between com-puter and performe¡" saysRovan.

History teaches Lrs

that each genelation buildsupon previous accomplish-ments. With regard torurusic, history's tirnelinereveals a primordial yearu-ing to cornprehend thatwhich we hear, as well as apenchant for devisingclever ways to categorizeand quantify sound. MellillEllis's vision of an elec-

tronic music center has influenced countless musrclansaffiliated with the Univelsity of North Texas College ofMusic. Next year, the College of Music will celebrate theCenter's 40th anniversary. Anyone who wishes to sharernernories and recollections about Merlill Ellis and theCenter please contact Dr. Rovan at Rovan@music.unt,edu.

SPRING 2OO2 l3

NEW SCFIOLARSFIIP SUCCCSS iI iS IO*AY

The UniversiÍy establishes.four new endowed scholarships to honor.four

faculty mentbers, currenÍ and retired, whose arlisÍic influence, mentorship

and years o.f dedication have helped.forge the College of Music into the

':t

Frank McKinley first joined UNT as a vocal teachel and dilector ofChapel Choil in 1940. After nrilitary service dLrrirrg WWII, McKinleyrejoined UNT in 1941 . He retiled in 1980, and in that sarne year', theTexas Choral Dilectors Association named him Distinguished TexasChoirmaster. Undel McKinley's leadelship the UNT A Cappella Choirplesented couoerts thloughoLrt the United States and Europe.

Maulice McAdow was dilector of bancls, conductor, and teachel atUNT flom l945 until his retirer¡enr.in l915.ln 199 l, McAdow

was inducted into the Texas Bandlnasters Hall of Fanre. TexasBandmasters is the Alpha Chaptel of Phi Beta Mu InternationalSclrool Bandrnaster Fraternity. McAdow died August 20,2001 aI"

Denton Good Samaritan Village at the age of 96.

Bob Rogers began his four'-decade caleer at Nolth Texas in 1948. Heretired in 1984 as coordinatol ofpiano and assistant to the dean. For thepast five yeals, Rogers ar.rd his wife Daisy, have volunteeled at UNT'sMusic Library. An active perfonner', Rogels has also olganized yearlyconcerts undel the title "Bob Rogers and Friends." These concerts haveraised nearly $100,000 fol' various chalities.

14 COUNTERPOINT

Halold Heiberg joined the UNT College of Music faculty in l91las vocal coach and teachel ofaccompanying. A pelfornrel and

conìposer, Heiberg has performed throughout the world as a soloistand accornpanist. On February 5,2002, the College of Music cele-

brated Heiberg's 80th bir-thday as well as his three-decade tenureas one of the College's most beloved faculty membels.

Dear Friends,

'JØhat good is the magic of Neil Slater, the drive of Eugene Corporon, thedrama of Paula Flomer, the energy of Jerry McCoy ancl the genius ofAnshel Brusilow without the world's most gifted stuclents? The College ofMusic is facing a monumental challenge and we need your help.

Not only has our scholarship endowment been hurt by the market down-turn, but the Charn Fund, a million dollar gift given to the college in ry96which was providing over gzoo,ooo a year in scholarships, has been spent.As a result, in zoo3, these funds will only be able to provide half the schol-arships of previous years, potentially affecting over 20o students. This dra-matically impacts the recruitment and retention of the finest music stu-dents in the nation, and the effects can be longJasting.

It is more vital than ever for you, our friends and alumni, to demonstrateyour support. Please consider a gift to the music general scholarship fundto see us through this crisis. If each of us gets involved, the College ofMusic will have the financial resources to continue its mission to providean environment that helps every student achieve his or her musical poten-

Recessionhurts

scholarsbip

funds

Clturler Metnhers

Wilton AebersoldDorothy Bridenthal BeanCecelia BoxJoyce Ann BradleyEuline and l lorace BrockMargaret and Bill CollinsGlenn ComczMary lleth and Ralph Mcnrremeyer'Kay and lld MoorchcadMary Masscy MorganPatsy and Prcd PattelsonT. Cary RogersBctty and Joe RoyRosc-Mary and Jack RLrnrbleyLindy and John RydrnanEstatc of' E.D. Schir.nmelRobclt C Shenr¿urCharn UswachokePaul VocrtmanMargot arrd Bill Winspear'Dota Lcc Langclon TlustPcrry TrustWaügh Estate

tial. Please call me if you would like more informationon how you can help.

'We truly appreciate your continued commitment andwe thank you for your support.

Elida TämezDevelopment Officer

94o-565-2243e tamez@music.unt.edu

New/Renetvittg Annuol Membcrsfrom Sept. l,2001Nancy Mannirrg AtkinsonLibby and l lugh AycrSusan and Don BoozcrMarilyn and Anshel BrLrsilor¡,Nancy and DoLrg ChadwickElsbcth J. ChadwickR L BufkinsBeth and Tonl ClarkE,nrily and Ray CrockerSandra and Ncil DavidsonPeggy and Lee DugganCar I EastnranO. Lee GibsonJoán Gloorr-ThorntonElizabeth E. GLrnterMalilyn and John IlaynicRobert E. HoustonCecile and Keith JoltnsonMar ion and Bill JohnsonCalol S. Kircholl'Mauline LeBeauE,laine Mathes

Diane and Larry McCainLenora McCroskeyNesha Joy and Ceorge MoleyI-lelen and Bob MorganMarLha Len and L.A. NclsonShirley and Bob OttnranPanlcla Mia PaulBcth R. PurintonBctsy and Cullis ReeseDaisy and Bob RogelsHelen and Phil SchenkE,lizabeth and Jarnes ScottJudy and Dave ShraderTonr SpenceMarjorie and Mack VaughanEvelyn and Richald Wagner lllKatina and Chris XerosN Patr icia Yalborough, EDDPhillip W. Young

qFo u n tl¡tti ¡t ns u tt tl Co rp o rali o tt sBcn ll. Kcith FoundationCollins-Binklcy Foundatiou8,. Nakanrichi FoundationElizabeth L. and Russell F.

I lal lberg lrounclationCraphire CorpolationI libelnia National BankIBM lntelnatiorral IroLrndationMusic ServicesPaccar lloundationPaine WebberRichardson SymphonySpec's Charitable FoundationSpectrunr o1' Richrrond, [nc.State Farr¡ Corrpanics

FoundationTexas Instrumcnts FoundationTexas ML¡sic Educator's

AssociationZildj ian Avcdis Corrpany

SPRING 2OO2 l5

C o,t I ri h il t i otts I o 8999- S epte ilt berI, 2001 to Morch I, 2002

Williarn AaronKermit G AdamsAlis Dickiuson AdkinsC. Elisabeth AdkinsEr ica Lyn ;f.dkinsRobert Patrick AllenLouise M AltonDavid AndctsonLinda Ann ArbolinoDaniel C. Arrnstr ongCail E,. AshburnBarbara S AustinPhillip C. BaczewskiRalph Joseph BaezFrank R. BalrusJanres Rayrnond BarclayKenneth P. BarketGary Wayne BarrowEvelyn Maria BartholdDouglas BartholonrewJames A. BasileCharles ll BaxterAlan Michael BaylockWillie Mae lleckendorfDon Michael Bedf'ordJoseph C Beneshan, SrRene Edrnund BernardHelen E. BlairMary Stuart BlandRobert L BlockerAnn Mar ic BoelznerWayne D. BooneFrederick N BoothBar bara Bor enl\4ark Teroller BoveeJerry Don Branch.ludy BrandmanJames R. BrannonMelanie Mosely BraunDel Eugene BrickleyRobert John Brooks[{onald P. BrouglrAllison E BrowuAnita Jean BrownNewel BrownLeon Fold Brou,nNathan Brusilou,Doris Bry-NildsenL. Suc BurattoThor¡as William BurclrillMark Steven BurrMarjorie CelayaChiou-Ling ChangCarnren ChapaBeverly ClrinnEula CliltonJoseph A. CocciaBobby L. ColeBarbara CompherLouis Fred ConnellJean ConnerGeorgc A CookeOla Lee CoonsL,C. Mar ie Cooper.laya CoulsonKenncth CoxRonald A CoxNancy Cr awfordTirnothy R CrowleyRichard M, CrunrnelPeggy Marie DavisBradley Jon DawsonDorothy S DernentMarcus Dicknlan, Jr.Wilma T. DorseyBobbie J DouglassKaren Kathlcen Dtaves

Jan K DluyvesteynMarian M, Duke-MitzeJackie DunnMartha EdnrundsoltWanda T. Eikenbary.loanne ll ErwinAnn R. EstesDonald Earl Evans, Jr.Jolrn A. FarrisLinda M. FieldsPaula Renee FinleyRalph T. FisherHarold Jar¡es FoostelAileen Alicia FordJoe E. FosterCody AIan CanterJennifer R. GarrisonRobert GauldinParticia Lee GerlachBobbie Sue GervaisDavid L GibsonDonald F. GihnoreJerry Lec GlennRosie M. ClossonWihna Kathy GoldJerry L. GordonBonnie Sue GraenrJohn E. GreenMalgaret S. GuilbeauJudy Ann HaddoxJerry Don FlaleToni Sue HaleMarjorie Lynn HallRobert N. Hallquist.lames D HargravcBelva Er lene Hal lowR. Tonr IJarpool, Jr.Paul B. HarrisonEm¡ly High HartnettRoserrary HeffleyCregory R Hehutlarold HeibergGeorge HicksGwen C. HighsmithCynthia A HightowerAlex HillJonetta llinkleBarbara HodgesBunny HodgesSally HoffeckerNonna J l-lofirannJarnes R. HoldenLola A HoltG Elizabeth HoodWilliam P. HorneNancy HouckAnn S. HoughtonJack W Hudgins, JrMargaret HudnallAldine HulseyCeorge HurnrnelLen Alexander HunnicuttJanet E. HuntLeslie Jones lrishKaren C. JanesEldon A JanzenCheryl Marie JohnsJ. W. JolrnsonAnna Marie KaeberleArleta J. KeithHoward V KennedyDavid B. Kestcrson.lung Yun KinrJanres Bruce KintballMargaret P KinberlirrgIìebecca G, KingMichael KinganKatlrerine KnightenVictoria Kopistinansky.[oan S. Lathan]

Larry Craig Lau,lcssJon I)uane LecNoah A. Lcc, Jr.Willianr F. Lee lllJohn Cary Leu,isSteplrcn Scott LewisVernon E. Lewis,.lr.John Cordon LockeChlystene H. LocksleyDavid Alan LoilandApolonio Lopez, .lr.Dai,id L. Loving lllSarah Ann MacinaDoris E. MacPhearsonPhillip Brad MadsonMorris A. MaillnanJean and Frank l) MainousHenry L. MalenchKent D. MarcumCora Ann Mal tilRebecca Janc MartinBl uce B MasonAnthony MauldinJerry F. McCarleyKirn Elizabeth McCor mickMolly Jane McCoyThonras Howa¡d McCulloughWilliarn R McCulcheonSteven Arlan McDonaldJoseph A. Mehan, Jr.Paul MetzgcrWalter J. MichelsClyde E. MillcrTarnala MillerJohn Silas MillicanJohn M MinniearDaniel Richard MitchellPat MoreyJerrnifer B. MorganClovis C MorrisonKathleen M MorrisonRobert Peter MullenMatthew J. NagelKaren Lee NauerPaul G. NewtonJanres lan NicCynthia NosowRobert David NovakW. Alan OldfÌe ldChristopher Newrnan OlsonByron R. OrandRiclrard S OrtonJohn R. OsbolneOlive D PadgettAlex PancheriMario R. PargaRobert Allen PatrickMargaret Morey PayneRobert Miles PayneMarilyn C. PeckDwayne Lee PedigoDiarre PenneyTedrow Lewis PerkinsDollie G. PersonChar les T. PetelsonKeith Lynn PetersonJim PettitBilly A. PowersRoy E. Price, JrRichard P RabideauWillia:n Char les RannMary Sue RayAndrea RedcayJohn Dudley Reinke, Jr.Gordon Lee RingDavid E. RobbinsRobert W RoberGeorge RobinsonMaxine B RoeRobert J. Rogcls, Jn

Dianrr L'RoyLawrencc C. RussellYoshiko SahekiKaren Sue SalaJanct M ScarcellaRol¡e¡ t SchadeVictor D SchaperJ Barton SchncidcrStephcn A SchneiderRuss A SchultzCarol N, SchwangerIsabel SciontiStephen Lew¡s ScottRobelt Seiber tCraig Lee SengstockPalricia D Shermanlr nra SilvernailBeverly S SinrrnsEmory CIatk SrnithDanie I R SrnithJames Eli SnrithLa Verne M SrnithMark Joseph SpicerRosernary StapletonJennifer StarkCarroll M. StarnesWill¡arì J SteinohrtMary Elizabcth StephensYvonne N StewartRichard E. Stilzel, JrEdgar N. StoneMary StroelrerLeta Su,iercinskyJohn Jacob TabakElena L TalleyElida TamezSue C TankersleyJohn Grady TarverCarmella D. ThompsonLinda Beth ThornpsonBarney C. Tiller, Jr.Dorothy Ann TimrnonsDonald Merle TravisSusan TreacyWallace E. TucketT. Jervis UnderwoodJarnes Van ZandtJ. Don VannLinda llunt VollenRobert D WakefieldRebecca L. Wascoe.lames T. \ryâtson, Jr.'Walter RobeÌ t WatsonHany C. WayneElizabeth WeeksVirginia S. WeidnranDouglas WeiheCecelia and Charles Weinkauf, JnJack Wengrosky, Jr.Victor WetlzMargaret Anne WheatRussell Clark WhiteEugene Worth WhittleLorene Wicker sharnDeloise H. WilkieDonald L. WilkinsCatherine Alison WilkinsonBonnic Blu Williams-DuggerG Thornas WilsonLois Mae WollanClarence J Wood, JnClaudia Ann WoodAaron Todd WorkmanJohn R Buddy WrightHelen Slator Young

ló COUNTERPOIN'I

l{ i}(¡{}:,

ln 1997, after 35 years of service, Dollie G.Person (MM '62) retired from teaching in theDallas Independent School District. An educa-tor, she served as general music teacher, readingspecial¡st and computer specialist, She is amember of The North Texas Trailblazers, agroLrp of black NTSU (UNT) alurnni whoattended in thel950s. She is married with oneson and three grandchildren.

Itr 1r)'lrii,

Kathy (Stall) Bruns (BM '74) has been named staff accompanist in thevocal division of the School of Fine Arts at Boston University. There areover 150 vocalists in the department.

Don Evans (MM '79, MS'84, DMA'87) serves as a lecturer in the com-puter science and engineering department at Southern MethodistUniversity.

(r'

Former One O'Clock Lab Bandmember, Gerard Carelli (BM '76)toured the world playing trombonef'or Ray Charles before moving toNew York City. There he began

¡,( )aying Latin gigs with Manny' -óquendo's Con Junto Libre fealur-

ing Dave Valentine and with HectorLavoe and Ray Baretto. Carelliplayed for many Broadway showsincluding Cats, Starlight Express,

Jerome Robbins' Broadway, 42ndStreet and for singers RosemaryClooney, Vic Damone, JohnnyMathis and Mel Torme. His [atest

lished in Downbeat and Jazz Improv Magazine. He leads his own trio andhas performed with Ernie Watts and Donald Byrd.

Steven Paxton (BM '73, MM'77) completed a new opera, Bellinib Lltar,which was premiered in October'2001 by Texas Tech University MusicTheatre. Paxton, who was a composition student of William Lathar¡, isassociate professor of music and chair of the Division of Theory andConrposition at Texas Tech. r

Dwayne Pedigo (BM '70, MME '77) retired fronr Plano East SeniorHigh in May of 2000. He currently serves as orchestra director atHillcrest Church (Dallas) and paft{ime band director at PrestonwoodChristian Academy. He also teaches part-time at Collin CountyComrnunity College and freelances as an arranger, editor and mLlsicengraver.

Joseph Pinson, lecturer in music therapy at Texas Woman's University,is presiclent of the southwestern region of the American Music TherapyAssociation. His activity as a composer earned him the Standard Awardfrom ASCAP in 2000 and 2001.

Margaret (Peggy) Volk Wood (MME '75) has retired from publicschool music after many years as a secondary choral director. She nowenjoys teaching American and English literature and AP literature at theAlexander School in Dallas, where she is head of the Engtish depart-ment. To stay active in music, she plays organ for St. Michael & AllAngels and St. George's Episcopal churches.

CD, Luclgt lo Be Me, features pianist/arranger John Oddo, bassist JayLeonhart and trumpeter Randy Sandke with liner notes by noted histori-an Dr. Herb Wong. Gerard continues to perform his own jazzlcabaret actat Firebird Café, Eighty Eight's, Judy's and Danny's in Manhattan andThe Manor in West Orange, New Jersey. The Gerard Carelli Orchestrahas becorne one of New York's most sought after swing dance bands. Theorchestra has numerous clients and is also a favorite of the NY SwingDance Society and will play a second year for Lincoln Center's very pop-ular "Midsummer Night's Swing." Look for Carelli on NTSU's OneO'Clock Lab Band recordings Lab '75, Lab '76,

^nd Best of The One

O'Clock, Charlie Persip's Original Superband,Jean Loup Longnon's NY Big Band and PaulNash's Impression featuring Frank Wess,Johnny Coles and Tom Harrell. For a calendarof events or to order Gerard's CDs, visitwww. l800GCSlNGS.com or call:

r -800 GCSTNGS (427 -464'7).

i rl( )on Glanden (BM '75) is chair of graduate\-/ \þzz stuclies and the piano deparlment at theUniversity of the Arts in Philadelphia. He hastwo albums out as a leader, Sudden Liþ andOnly Believe. He has had several articles pub-

Frances GtnzerAlthough Frances Ginzer (MM '79)now makes her home in Cermany ,

this former student of Ed Baild andrenowned Canadian soprano, receivedrave reviews for her portrayal ofBrunnhilde in Dallas Opera's produc-tion of Richard Wagner'sGötlerdcimmerltng,, the [ast in thefamous fotrr opera cycle Ring of theNibelung,in January 2002. The role ofBrunnhilde in Götterdti mm erru n g(The Twilight of the Gods) is one ofopera's lnost challenging roles. TheForl Worlh Star-Telegram ranked theproduction as one of Dallas's top 5,and according to arts critic WayneLee Gay, Ginzer's "Brunnhildesoared."

SPRING 2OO2

l9f{(}s

Jason Adamik (BA'84) developed an interest in Russia in the late 1990s. Hehas traveled to Russia six times since1998 and maried his wife, Nadezhda(Nadya) Polyakova, in Volgograd in November 2000. Also a painter, Adamikis beginning to find gallery representation in northern New Mexico, where hesoon hopes to move. He has worked at Texas Instruments (Dallas) as aprocess engineering technician since 1997 and is cunently doing electronrnicroscopy/failure analysis.

Rebecca Burkhardt (MME '83) completed a Ph.D. in music theory atUniversity of Texas, Austin, in 1993 and was appointed music director of theNorthern Iowa Symphony Orchestra in 1988. She teaches theory, conductingand orchestral literature and conducts the orchestra and opera at theUniversity of Northern Iowa.

Alex E. Hill (BM '88) recently conducted performances by the PennsylvaniaChamber Chorale and the Central Pennsylvania Youth Orchestra, which justcompleted its lOth season. He has published several liturgical compositionswith CantiaNOVA publications. Alex serves as managing director of BalletTheatre of Central Pennsylvania and is the music director and founder ofCentral Pennsylvania Youth Orchestra. Alex and his wife, Andrea, have fivechildren and reside in State College, Pennsylvania,

Õ,Michael Reid (BM '81, MM '85) recently worked with the Opera Orchestìa r

of New York on Les Huguenots and Maria Sluarda; a recording of lesHuguenots will be issued to raise funds for relief related to the 9/1 I disaster.He has also worked with the New York Grand Opera, which just completedan eight-year traversal ofthe entire 28 operas ofVerdi in order ofcomposi-tion: a cycle which he participated in cornpletely with the exception ofLa Forza del Destino. He has recorded with BMG, Sony Classics, NewportClassics, and others. In addition to singing and a full-time position in anonprofit company, he has served on three non-profit boards, including cur-rent service on the national board of governors of American Guild of MusicalArtists, the union for opera, dance and concert perfonners and staging staff(serving alongside fellow UNT alums Mary Kay McGarvey and EmilyPulley).

UN w¡,nsnY,/ NoRTH Tpxns

-7-tl!72 I

Bill Robinson (BM '84) is nowstudying physics aT. NorthCarolina State University,Raleigh. He should receive hisBS in 2003 and plans to pursue agraduate degree afterwards.Arthritis forced him to quit vio-lin in 1981, but he now playsagain by mounting an electricviolin onto a carrera monopod,allowing him to position the vio-

FINE. ARTSSERIES

l{ow in its 99th Seøson

lin like a cello. He hopes to be able to perform again in a year or two.

conl on pg. 20

UIYT Student TicketsFREE with vøIid f.I).

(.1Alu

UNT Collcge of Music (llunm¡ rcp-rcsenl some 0.1'the nnsÍ lalcntedmu,\iciüt't,t in Íhe \t0rld.by Amy Evans

r8 COUNTERPOINT

David Breeden, San FranciscoSymphony's principal clarinetist, andPatricia Racette, a regular at San Diego'sand San Francisco's opera houses, haveforged successful musical careers sincetheir Mean Green days.

Breeden joined the Bay Area's sym-phony in 1972 as a second and e-flat clar-inetist. Seven years later he moved to theassistant principal position and was pro-moted to his current position in 1980.

Dr. James Gillespie, regent's profes-sor of music at the University of NorthTexas says, "to hold a position like that,you have to be a first-rate player."Perhaps being fìrst-rate was in his blood.

-^His talent and his ties to UNT and the( )ollege olMusic run deep. His father.' leon Breeden who was also a noted clar-

in't{¡rsf¿ rf.t

Harold Wright and Loren Kitt during thistime.

David is a founding member of theCaseli Ensemble, a chamber music groupcomposed ofSan Francisco Symphonymusicians. He has also been aguest soloist and lecturer atinternational clarinet conven-tions, and was formerly a mem-ber ofthe San Francisco OperaOrchestra. He is a former facul-ty member of the music depart-ment at Stanford University andis currently a faculty member atthe San Francisco Conservatoryof Music.

David has performedchamber music on numerous

inetist, directed the OneO'Clock Lab Band frorn1959 until 1981. UnderLeon Breeden's direc-tion, the One O'Clockshared billing with thelikes of Duke Ellingtonand Stan Getz andreceived almost 50national awards forgroup and individualperformance.

With a backgroundlike that, David

York debut in 1999 in a duo recital withRussell Braun at Lincoln Center.In 1998, she received the prestigiousRichard Tucker Foundation award, and in2000, she received the Maria Callas

occasions at the Mostly Mozari andBeethoven festivals and the New andUnusual Music series. He and his wife,Barbara, a former assistant principalflutist for the San Francisco Symphony,live in Belmont, California, and havethree children Anne, Mark, and Chris.

Breeden's success was inevitable. AtUNI David studied with Lee Gibson, andin the summers of 1966 through 1968, heattended the Berkshire Music Festival atTanglewood.

After completing his undergraduatedegree, he moved to Washington, D.C.and joined the United States Navy Band.During his time with the band, he made

,1, 'hree national tours and played on the\-rVhite House lawn for the arrival of digni-

taries. He also earned a master's degreelrom the Catholic University inWashington, D.C. and studied with

Debut Artist of the YearAward from the DallasOpera. In April 2000 shecreated the role ofLoveSimpson in the worldpremiere of Cold SassyTree, a work co-commis-sioned by Houston GrandOpera, San Diego Opera,Austin Lyric Opera,Baltimore OperaCompany, and OperaCarolina.

i¡.1 .¡

While some musicians playinstruments such as the clar-inet, others are born with theirinstrument. Patricia Racetteplanned to singlazz, but aftertaking some voice classes atthe university, she discoveredthat her true calling was opera.After graduating from UNIshe was invited to participatein San Francisco Opera'sMerola Program and eventual-

She is a versatile soprano whoenlivens roles such as Violetta and Mimi,plus lesser-known ones such as EllenOrford and Jenufa. However, she's notafraid to try new operas, particularlyAmerican operas, including works byCarlisle Floyd and Tobias Picker. She cre-ated the title character in Picker'sEmmeline for Santa Fe Opera's world pre-miere, which was telecast nationwide onPBS's Great Perþrmances and subse-quently performed at the New York CityOpera.

Dr. Jeff Snider, a former classmate ofRacette's and now the Chair for the VocalDivision at UNT, says Racette is general-ly regarded as one ofopera's leadingyoung sopranos. "Pat has been universallypraised not only for her beautiful singing,but for her sincerity of dramatic presenta-tion," lauds Snider.According to assistant voice professor Dr.Lynn E,ustis, everyone who knows Racetteacknowledges her determination and per-severance. "Apparently she was alwaysvery focused on becoming the best singershe could be," remarks Eustis. "And ifthat meant hearing- jegative commentsfrom a teacher, so be it."

Coupled with natural talent and abili-ty, determination and perseverance,Breeden and Racette soar.

ly became an Adler Fellowwith the company.

In 1989, she made her debut with thecompany as Nanetta in Falstalf. Sincethen, she has appeared in many of theleading opera houses in the United Statesand abroad, such as the MetropolitanOpera, the San Diego Opera, and theLyric Opera of Chicago.

Racette has performed in Europe atthe Royal Opera House, Covent Garden,Vienna State Opera, Geneva's GrandTheatre, Welsh National Opera andNetherlands Opera. A frequent conceftsoloist and recitalist, she made her New

SPRING 2OO2 r9

Ronald Atienza (BM '96) is currently employed as a woodwind ir.lstlumen-talist with tlre Navy Band Mid-South in Memphis, Tennessee.

Nancy (Coulson) Bartkc (MM '92) serves as the mLrsic coordinator for thelncalnation Catholic Church in Glendale, Califbrnia.

Michael Bedford (DMA'98) presented his Ma,ss of St. John the Ewngelistfor chorus, soloists, and chamber orchestra ou Novernber 25,2001, at St.John's Episcopal Church in Tulsa, Oklahoura, where he has served as ol'gan-ist and choiluraster since 1990. Cornposed and offeled in honor of thechnrch's 50th anniversaly, the rnass was sur'ìg by the Clrancel Choir andsoloists, accorrpanied by rrrembers of the Tulsa Philhalrronic aud conductedby the composer.

Steve Cooper (DMA'90) received a $10,000 commission to write a newpiece for the State of Arkansas for the "Continental Harmony" initiative, ajoint project olthe American Composers Fortrm and the N EA. One such glantwas awarded in each of the fifty states,

Luellyn K. (North) Dollard (BM'91) and Joe Dollard ('87), had a babyboy, Johnny Danger Dollald, orr Novernber 2,2001.

Arnold Friedman (DMA '99), assistant professol of composition at theBerklee College of Music in Boston, premiered two wolks during the fall of2001: A Still Sntull Voice, for piano and five boor-nboxes was perfolured byJohrr McDonald aud Extentiorr'ùy'orks; and Blue Horizon for aìto saxophone,violin, and piano, was perfolured by the Cleveland Duo and James Umble atJuniata College, Friedman was also a guest lectul'er at the Univelsity ofHawaii, Manoa in January 2002.

Martin Owen Cemoets (MM'96)was recently adnritted to choil.nraster'standing by advar-rced exarrinationthrough the American Guild ofOrganists' Professional CertificationProglam. He holds the AssociateshipCertificate, which he earned whilestill a student at UNT, Genroets chairsthe Faculty of Liturgical Music atSaint Michael's PaLish in Bedford andplays for sevelal othel rnajor localchulches as well. An active organrecitalist, he made his Boston concerl200t.

appeared in a concert series at thePhillips Callery in Washington, DC, and performed and taught nraster class-es at Shen Yang and 'Wu Han Conselvatories of Music in China and at theStegel Music lnstitute at Southeastern Oklahorna State University. This pastJanuary, they appeared as part of the Plano Synrphony Olchestla conceltsefl es,

Kevin Salfen (BM '97, MM '99), current doctoral candidate in musicologyat UNT, wrote the lead alticle for the fall 2001 issue of the American BrahmsNewsletler, "Sbaping Tirne in fhe Vier ErnsÍe Gesange."

AnnMarie Sandy (BM '99), cuLrently seeking her master's in rnusic (voice)at UNT, is a semifinalist in the Orpheus National Competition, with finals inTennessee this March.

Vern Sielert (BM'91, MM'93) was recently appointed to the position ofassistant professor ofjazz studies at the Univelsity ofWashington. He con-dtrcls tlre Studio Jazz Ensemble ancl teaches classes in lbe jazz division.Sielert is a DMA candidate in trunrpet per'l'ornrance florn the University o1'lllinois, and he has hacl sevelal jazz tlurÌpet soìo tlanscliptions recently pub-lished in the Journul o/ lhe Ittlernulionul Trunpel Cuiltl. \William Stowmân (DMA'98) is dilector of bands at Pennsylvania's Messi,College. His bands have produced two CDs and will record a thild this year'.Beginning in fàll of 2001, Stowrnan will serve as chair of the MusicDepartment.

Last fäll, Pavel Wlosok (BM '98, MM '00) finished composing a string quar-tet, due to be recolcled by Prague's Apollon Quartet for Czech National Radioand eventually leleased on CD. Wlosok currently serves as director of jazzstudies at Tluuran State University.

Christina Ay-Chen Long (DMA '96)is curlently an assistant plofessor z'-1Westfield State CollegeMassachtrsetts. As a soloist, she per-f'orned this yeal with Chicago's NorthShore Chamber Orchestra in Augustand at Houston's Taiwanese MusicFestival in June. Christina (right) alsotours with her sister, Beatrice Long(left), as the Long Duo. Together they

Keith Javors (BM '93, MM '96) was appoint-ed assistant plofèssor ol jazz studies at theUnivelsity of Nolth Florida, whele he dileotsthe acclaimed UNF Jazz Ensemble I. He is cur-rently workirlg on his tlrird CD as a leader', enti-tled In Essence.

Doug Lockard (MM'91) received his DMA intrunlpet per'l'omance fÌonr the University ofTexas at Austin in August 2001 . l-{e has accep!ed the position of assistant profèssor of trumpetat East Texas Baptist Univelsity in MaLshallwhere he teaches studio tnrnlpet, music history

debut to critical acclaim in October

courses, aud directs ilte jazz band. He plevior"rsly taught at Ouachita BaptistU niversity in Arkadelphia, Alkansas.

Luther Didrickson, who served as visiting professor of trumpet atUNT during February 2001, passed away in Evanston, lllinois onAugust l, 2001 of Non-Hodgkins Lymphoma. He served for 30years as assistant professor of trumpet at Noúhwestern Universityand was a colleague and close personal friend ofa number oftheCollege of Music faculty. The brass faculty performed a memorialconcert in his honor in April 2002.

Thomas I). Gause, 50, of Ellensburg, Washington died in his homeon Septembel'30, 2001 from a battle with melanoma. He receivedhis MM in rnusic education in December 1978, studying with JohnHaynie at UNT. He studied with Keith Johnson at the University ofNorthern Iowa for his bachelor of music degree. For the last tenyears, he was on the trumpet faculty of Central WashingtonUniversity.

Franz Ellis Merrell graduated with a major in trumpet perform-ance and a minor in conducting in March 2002. He \ryas a concertocompetition winner aud performed the Telemann Concerto in DMajor with the University Orchestra in Spring 2001. A NorthCarolina native, Merrell lost his life to cancer on March 14,2002,six months shy of his 25th birthday. An Eagle Scout and member ofseveral honor societies, Merrell was an active performer andteacher, On perforrning at church, he is quoted as saying, "You'vegot to give back to God what's been given to you." Franz is sur-vived by his parents Frank and Dawn Merrell, brother JudsonMerrell, paternal grandlnother Mildred Menell, lratemal grand-rnother Ethel Frick, and fiancée Cynthia Thompson (MM '01).

Arthur Schoep, retired professor ofvoice and director ofopera,passed away on December 4,2001 at the age of 80. Schoep attaineda BFA fror¡ University of South Dakota, an MM and performer'sceftificate from the Eastman School of Music, aftist's diploma fromthe New England Conservatory of Music, and his DMA from theUniversity of Colorado. He toured nationally and internationally asa performer and conductor, both as a charter member of BorisGoldovsky's Opera Theater and as a guest performer for numerousopera cornpanies and symphonies. He was the host of MusicfrcmNorlh TÞxas, a lnonthly radio show that broadcasted first frornKERA and then from WRR for ten years. In addition to teaching atUNT, Schoep reviewed the Dallas and Fort Worth operas for OperaCanada, served as president ofthe National Opera Association, andwas a member of the National Association of Teachers of Singingand the American Guilcl of Musical Artists.

Joseph Truncale, founding director of the Beaumont Civic-LamarTech Opera Theatre, passed away on August 21,2001 in Beaumont,Texas. Truncale earned his bachelor's degree from NTSU in 1947and his rnaster's from the University of Houston before attendingJuilliard. He met and married his wife, Ruth Henderson (BM '46,MM '47), while attending NTSU. Best retnernbered for his abilitiesas a singer, Truncale perfonned as a tenor soloist with the HoustonGrand Opera, the New Orleans Symphony Orchestra, the HoustonSymphony, the Lake Charles Syrnphony, and the BeaumontSymphony Orchestra. He served as professor ofvoice aud opera atLamar University for 43 years, director of choirs at Trinity UnitedMethodist Church fol l5 years, and in retirement served as theinterir¡ choral director at St. Mark's Episcopal Church.

J. M. Wood passed away on November 5,2001. Wood graduated in1959 with a master's of music degree. For 22 years, he served asminister of music at Broadmore Baptist Church in Jackson,Mississippi. He later worked as rninister of music at First BaptistChurch in Brandon, Mississippi until his retirement in 1999.

20 COUNTERPOINT

Joren Cain (MM '00) won a position in "The President's Own" U.S. MarineBand irr Washington, D.C. in JanuaLy 2002.

Jessic Hinkle (BM '00) carr be seen in a lesson with Patlicia Misslin in theApril 2002 edition of Opcro Neu,s.

Calvin Hof'er (DMA '00) was recently promoted to associate profèssol atMesa State College in Cland Junction, CO. He has been appointed chair ofthe music depaltnrent and is the directol of wind studies. The MSC WindSymphony has pelformed to standing ovations at lecent lestivals and confer-ences. Holer serves as chair of the College/University Music Courrcil lor theColorado Music Education Association and state advisol for CMENC. He isalso plincipal truurpet olthe Crand Junction Symphony Orchestra as well asttre MSC Faculty Brass Quintet.

Joseph Spaniola (DMA '00) has won the 2001 Twenty-Fifth AnnualNBA/W|llianr D. Revelli Memoliaì Band Conrposition Contest lor a recen'work entitled ESCA PA Dþ:.

College of MusicFrazee AlledgeCindy CooperLinda Carlett

Edwald PerezLinda Stnrbe

College of Music StaffOffice

Course Catalog CoordinatorScholarships arrd AuditionsAssistant to Associate Dean

for Academic AffairsPR Assistant/Web EditorFLont Offi cb Assistant/Dean's Secretary

Dean's OfficeRachel ClaLke Assistant to the Dean for

College AdvanceurentElida Tamez Development Off,rcerMignon Wendovel AdministrativeAssistant

Ädministrative Assistants to DivisionsJanieBergman lustrumentalStudiesNancy DeHonores Conducting, Keyboard & VoiceLisa Fletcher 'Wind StudiesCari Geer Craduate OfficeCLaig MaLshall Jazz StudiesDarla Mayes Jazz StudiesPaula Rives Con-rposition & Music EducationLisa Sweidan Theory. History & Ethnomusicology

AdvisorsJudy Fislrer Degree Prograrn AdvisorBeckyKirrg lnternationalStudentAdvisorCarol Pollard Degree Prograrn Advisor

SchedulingLynn Job Colcert SchedulingSandie Stone Classroom Scheduling &

Concert Progratns

Music LibraryMark McKniglrt Assistant Music LibrarianMorris Martin Music Liblalian

Murchison Performing Arts CentcrJeflCochran Technical DirectorTinrotlryKing OperationsCoordinatorRebecca Litzer Events Coordinator

Technical ServicesCyriel Aelts Piano TechnicianRichard DuPree Manager of Music Media ServicesAnn MacMillan lnstrument Technician & Rentals

OperationsKathy KrejciScott KrejciBtrrton Lee

Budget OfficeRandy KellyLucy Warren

Building Opelations ManagerComputer Support SpecialistConrputer Systcnrs Manager

Budget and Pulchasing OfficerBudget aird Travel Officer

I

SPRING 2OO2 21

F.ebTuaTythe UNT Aces do their part for the

war effort...

L9 4 5

Fronted by Floyd Graham, the Notth Texas State"Aces of Collegeland" perþrmed./or wounded war

personnel held at ct soulh Texas governntent hospital.

Flont Row:Violin, Vari¡la Powell; Saxes, John Bell, MaxMcElroy, Ray Katzmark, Murphy Martin

Back Row:Trumpets: J.B. Floyd, Bill Thomson, CharlsieRutherford; Trombone, Odell Herod

Four F.ri enCstn L9 48

k¡tt ot'c intlxtrluttt tt.¡ u,v! Yt¡u urc dil1ot1g lhosa vyho hnvc tnctde Not'th Texcts synonymous wilh exc:el-lcnce in ntLts'ic tt¡ thou:;un¿ll; uround lhc vvorld. We n,ould like to lenow ¿tbr¡ul .vr¡u, crs woultl .your clcts,s-ntctlcs uncl olher li'iend,s o/ thc Collegc of Music. We ore provicling lhi.s fõrm to ntctke il eas-v fbr -you tolell of t,our pcr.sonul and public rec'ognilions, lriuntph,,; ctncl mile.slones. I/ nec'e.s.s'.tt'y, inclucle anctllacltecl slteel o/'ptrper and inclucle o non-relurnctble photo o./ ¡,our.self when pc¡s',s'ible.

Please mail to:Urriversity of'Nor1h Tcxas, Collcge of'Music, Attn: Newsletter;P.O. Box 3 I 1361, Dcuton, TX 1 6203-1361or email:a lumninews(f nrusic.unt.edLr

Alrrrrrrri inf'orrnatiou deaclline f'or the Fall 2002 issue of' Counterpo¡n! is September 1,2002

COUNTERPOINT

Thanks to Wlliam Thomsonþr these picÍures and memories.

Narne

Address

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(L-R) Bob Dorough, Aaton Rosenberg, LloydHibberd, and George Morey pose in /ront o/ theold Orche,slra Hall.

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Please put me on your mailing list fbr:

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Nolhing reflecls lhe characler and clrive o/ a people more than itsreediness to strpport.fLrture general ions.

Your cr,¡nlribulion todoy creales o¡tporlunities .fòr students lomorrow.

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Please contact me about a donation ofsecurities.(be snra to include your phone nunher above)

[ìor lLrrthcr infbnnaLion, pleasc contacL Elida Tamez, College of'Music Devclopnrcnt Ol-ficcq at 940-565-2243

I would like inlonnation on:tìxisting cndowecl scholarshi ps

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SPRING 2OO2 23

GeneratedAudioscoper

from the software pnogramthis sonogram depicts the phrase"Mes longs cheveaux descendent jusqu'au seuil de lo tour"as performed in the famous hair scene of Debussy'sopera Pelléqs et Mélisonde.

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