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This is to certify that the

dissertation entitled

A HISTORY OF THE SCHOOL OF MUSIC AT
MICHIGAN STATE UNIVERSITY

presented by

JEAN H . FICKETT

has been accepted towards fulfillment
of the requirements for

PhD degree in MUSiC Edugation

    

Major professo

Date l l " 2 5” 03

MS U is an Affirmative Action/Equal Opportunity Institution 0-12771

 

 

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TO AVOID FINES return on or before date due.

MAY BE RECALLED with earlier due date if requested.

 

DATE DUE DATE DUE DATE DUE

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

5/08 K‘IProilAcc&PresIClRC/DateDue indd

 

 

A HISTORY OF
THE SCHOOL OF MUSIC AT
MICHIGAN STATE UNIVERSITY

BY

Jean H. Fickett

A DISSERTATION

Submitted to
Michigan State University
in partial fulfillment of the requirements

for the degree of
DOCTOR OF PHILOSOPHY
School of Music

2003

 

 

 

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ABSTRACT

A HISTORY OF THE SCHOOL OF MUSIC AT MICHIGAN STATE UNIVERSITY
By

Jean H. Fickett

The purpose of this study was to trace the history of the School of Music
at Michigan State University from the founding of Michigan Agricultural College
to the present, with special emphasis on the years from 1950 to 2003. The
School of Music has traditionally been very strong in terms of education and
outreach, and research in music has become increasingly important in the
recent years.

Information is presented chronologically, and after a discussion of the
early years, it has been divided into chapters describing what was
accomplished under successive department heads. A number of appendices
have been provided, including milestones, a chronological list of professors,
and a list of ensembles and their conductors. Tables of School of Music recitals,
the increasing number of international students since 1975, and enrollment
and graduation statistics are given. Another appendix lists awards and
scholarships available to music students, and another lists special honors.

A number of threads are evident throughout the history. First is the
consistent focus on teaching, outreach, and later research. Next are the
numerous achievements of the school in spite of limited money and the
continual need for facilities. The growth in the numbers of international students
has been dramatic. Many of the faculty over the years have devoted their whole

careers to the students at Michigan State.

Copyright by
JEAN H. FICKE'l'l'
2003

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ACKNOWLEDGMENTS

First, my hearfelt gratitude goes to my advisor, Albert LeBlanc, who has
spent untold hours helping me to stay on track. Thanks also to the rest of my
committee, Judy Palac, Jonathan Reed, and Cindy Taggart. The support staff
has been critical to access to information, so thanks to Dorothy Bartholic,
Bonnie Stewart, Sarah Blanck, Shawn Myrda, Jeannette Minkel and Mary
Cotton, and especially to the information officers, Linda Dunn, Kathy Walsh and
Jill MacMillan. Thanks to Mary Black, music librarian, and Whitney Miller and
Jeanine Mazak at Archives. I am especially grateful to have met Margaret
Dionise, daughter of Weldon Hart and step-daughter of Paul Harder, in the
Administration Building. Her help was invaluable. Thanks to Bruce Taggart,
whose help with computer problems kept me sane, to my friend Clarice
Thompson, who helped with editing, and her husband Jack, for photo help.

Thanks to everyone I interviewed, who are too numerous to thank
individually, for providing unique insights into their experiences at Michigan
State. Their stories have made this document more interesting. Thanks to
James Forger for routing some historical material on to me. Special thanks are
due Edgar Kirk and Kenneth Bloomquist, for allowing me to do this project,
since they were originally going to do it. They gave me considerable material,
as did James Niblock. Thanks to Maury and Dorothy Pelton and Ryan Gender.

I originally wanted to do this project to preserve the memories of my
undergraduate teachers, who prepared me for a long and happy career as a
public school music teacher. I would also like to thank my present teachers,
who would include my committee, plus Colleen Conway, Robert EIbes, Ted
Johnson, Midori Koga, John Kratus and Charles Smith.

iv

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TABLE OF CONTENTS

CHAPTER ONE
RESEARCH BACKGROUND ........................................................................................ 1
CHAPTER 1W0
RELATED LITERATURE ................................................................................................. 8
CHAPTER THREE
PROCEDURE ................................................................................................................. 15
CHAPTER FOUR
THE EARLY YEARS ...................................................................................................... 20
CHAPTER FIVE
THE LEWIS RICHARDS ERA (1927-1940) .............................................................. 34
CHAPTER SIX
THE ROY UNDERWOOD YEARS (1940-1957) ....................................................... 58
CHAPTER SEVEN
THE HART, REED, AND HODGSON ADMINITRATIONS (1957-1963)

AND THE JAMES NIBLOCK YEARS (1963-1978) ................................... 103

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IE KENNETH BLOOMQUIST ADMINISTRATION (1978-1988) ..................... 148

IAPTER IX

IRBAFIA WARD’S INTERIM ADMINISTRATION (1988-1990) AND

IE JAMES FORGER ERA (1990-present) ........................................................... 172

IAPTER X

JMMARY AND CONCLUSIONS .......................................................................... 207

>PENDICES .............................................................................................................. 214
Appendix A: UCRIHS Permission and Sample Letter of Consent ....... 215
Appendix B: Milestones ................................................................................ 217
Appendix C: Documents from Rural Extension Service ......................... 221
Appendix D: Lists of Faculty ........................................................................ 223
Appendix E: Number of Concerts and Recitals in Selected Years ....... 256
Appendix F: WKAR and the Lecture Concert Series ............................... 257
Appendix G: Graduation and Enrollment Statistics .................................. 265
Appendix H: Growth of the International Student Population ................. 275
Appendix I: Awards and Scholarships ...................................................... 277
Appendix J: Faculty Who Served 25 Years or More ............................... 290
Appendix K: Miscellany ................................................................................ 292

EFERENCES ............................................................................................................. 295

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LIST OF TABLES

Concerts and Recitals ........................................................................ 256
Degrees granted, 1930-1955 ........................................................... 266
Degrees granted, 1956-1969 ........................................................... 267
Undergraduate Enrollment and Degrees, 1970-2002 ................. 268
Graduate Enrollment and Degrees, 1968-1981 ................... 269, 270
Masters Enrollment, 1982-2002 ....................................................... 271
Doctoral Enrollment, 1982-2002 ...................................................... 272
Masters Degrees, 1982-2002 ........................................................... 273
Doctoral Degrees, 1982-2002 .......................................................... 274
Growth of the lntemational Student Population ............................ 275
lntemational students enrolled in the School of Music ................ 276

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Figure 1.
Figure 2.
Figure 3.
Figure 4.
Figure 5.
Figure 6.
Figure 7.

Figure 8.
Figure 9.

Figure 10.

Figure 11.

Figure 12.

Figure 13.

Figure 14.

Figure 15.

Figure 16.

LIST OF FIGURES

Music Center. 1922 Wolverine, yearbook of MAC, p.29.
Glee Club. 1924 Wolverine, p.30.

Clown Band. 1924 Wolverine, p.32.

Drum major, Co-ed sponsor, Falcone. 1928 Wolverine, p.37.
Varsity Band. 1928 Wolverine, p.38.

Michigan State Institute of Music. 1929 Wolverine, p.40.

From the Brochure of the Salzburg Orchestral Academy, donated
by Sue Johnson from Robert Coleman’s Memorabilia, p.42.

Graduation ceremonies at the Band Shell. 1940 Wolverine, p. 50.
Lewis Richards. 1940 Wolverine, p.57.

Beaumont String Quartet. From L to R: Alexander Schuster, cello;
Lyman Bodman, viola, Romeo Tata, first violin; James Niblock.
second violin. Picture courtesy of Lyman Bodman, p. 66.

Maury Pelton, modeling first non-military band uniform,1952.
Picture courtesy of Maurice and Dorothy Pelton, p. 75.

Marching band in first non-military band uniform. This picture
appeared as the cover of The Record, the Spartan Alumni
Magazine, November 20, 1952, p.76.

Picture of students at Summer Youth Music Program with Leonard
Falcone in 1948. Picture courtesy of Dorothy Pelton, p.81.

Course offerings in teacher education in the summer from a 1952
brochure, p. 82.

State News clipping from 1949. Courtesy of Bea Eshenour
Johnson, p.90.

State News clipping from 1949. Courtesy of Bea Eshenour
Johnson, p.91.

viii

Figure 17.

Figure 18.
Figure 19.

Figure 20.
Figure 21.
Figure 22.

Figure 23.

Figure 24.

Figure 25.
Figure 26.

Figure 27.

Figure 28.

Figure 29.

Original MSC Faculty Woodwind Quintet: Keith Stein, clarinet;
Douglas Campbell, horn; Paul Harder, oboe; Edgar Kirk, bassoon;
Russell Friedewald, flute; with Howard Silberer, piano. Courtesy of
Edgar Kirk, p.92.

1952 A Cappella Choir. From 1952 Wolverine, p. 96.

Old Music Practice Building. The State Joumal, Monday, June 26,
1967. Copy courtesy of University Archives, p.109.

Niblock receiving plaque from Bloomquist for the James F. Niblock
Electronic Music Studio. Picture courtesy of James Niblock, p.110.

Beaumont String Quartet. Romeo Tata, Ted Johnson, Lyman
Bodman, Louis Potter. Picture courtesy of Lyman Bodman, p. 113.

Beaumont String Quartet. Ted Johnson, Walter Verdehr, Louis
Potter, Lyman Badman. Picture courtesy of Lyman Bodman, p.114.

Richards Woodwind Quintet outside the White House. Israel
Borouchoff, Dan Stolper, Elsa Ludewig-Verdehr, Edgar Kirk,
Douglas Campbell. Picture courtesy of Edgar Kirk, p. 117.

Newman’s award-winning jazz band. Picture courtesy of Joe
Lulloff, p.127.

Corliss Amold and the Harts at the dedication of the organ.
Picture courtesy of University Archives, p. 131.

Memorial Service for Leonard Falcone. Courtesy of Kenneth
Bloomquist, p. 151.

Richards Woodwind Quintet c. 1985. Back: Campbell, Frank EII,
Kirk. Front: Borouchoff, Stolper. Picture courtesy of Edgar Kirk, p.
171.

Spartan Marching Band, 2002. Picture from The View, 2002. SMB
Newsletter. Picture courtesy of Jill MacMillan, lnfonnation Officer,
p. 179.

Kenneth Bloomquist, Leon Gregorian, and Ralph Votapek, c.
1986. Picture courtesy of Jill MacMillan, Information Officer, p.
1 83.

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Figure 31.

Figure 32.

Figure 33.

Figure 34.

Figure 35.

Figure 36.

Figure 37.

Mary Alice Stollak rehearsing MSU Children’s Choir. Picture from
Music Notes, 2002, p.185.

Cynthia Taggart teaching Early Childhood class. Picture courtesy
of Jill MacMillan, p.186.

Music Education Faculty, 1996. Albert LeBlanc, John Kratus,
Robert Erbes, Cindy Taggart, Judy Palac. Photo by the author,
p. 190.

Charles K. Smith, Director of Choral Activities. Picture courtesy of
Jill MacMillan, lnfonnation Officer, p. 192.

Rodney Whitaker, Director of Jazz Studies, and Wycliffe Gordon,
2002. Picture courtesy of Jill MacMillan, p. 198.

The Verdehr Trio, 2003. Walter Verdehr, Sylvia Roederer, Elsa
Ludewig-Verdehr. Picture courtesy of Jill MacMillan, Information
Officer, p. 203.

Beaumont Brass Quintet. Janine Gaboury-Sly, horn; Curtis Olson,
trombone; Philip Sinder, tuba; Mark Thompson, trumpet ll; Rich
Illman, trumpet I. Photo courtesy of Jill MacMillan, p.204.

Ensemble Directors not previously pictured. John Whitwell,
Director of Bands (1993-present); David Catron, Spartan
Marching Band Director(1970-74 and 1979-88); Jonathan Reed,
Associate Director of Choral Activities (1993-present), p.205.

John Madden, Spartan Marching Band Director (1989-
present).Pictures courtesy of Jill MacMillan,

Postcard of the Music Building. Picture courtesy of Mary Black,
p.206.

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CHAPTER ONE
RESEARCH BACKGROUND
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l have written a history of the School of Music at Michigan State
University. As a 1954 graduate of Michigan State College in music education, I
have been interested in the evolution of the School of Music. Although it would
be possible to research only music education history, the Music Educators
National Conference (MENC) has stressed musicianship equally with teaching
skills. The total music experience is a gestalt, not easily separated into atomistic
pieces. After spending a lifetime in music education, I have looked at music at
Michigan State through a music educator’s eyes, but because we are
influenced deeply by those around us and because all students experience a
portion of the curriculum in common, it seems appropriate to consider the whole
School of Music.

I became interested in doing this project on returning to Michigan State
after a 41 year career in music, mostly in the eastern United States. In 1954
most of the students in the School of Music were in music education, with a few
performance majors, a handful of theory majors, no jazz program, a small music
therapy program, and no musicology majors. There were a few graduate
students, but few, if any, international students. All of us fit into the 350-seat
music auditorium for our required attendance at weekly recitals with room to
spare. There are over twice as many music majors now. Today many students
at every level are performance majors, with a dramatic rise in international
students. There is a flourishing jazz program, with a brand new major; theory
and composition are attracting students, and music therapy has a significant

number of students. Music education students are the most numerous at the

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undergraduate level, with 158 in the fall of 2002, followed by 90 performance
majors, 38 therapy majors, 26 working toward a Bachelor of Arts in Music, 8
theory and composition majors, 9 jazz majors, and 9 undeclared, for a total of
338 undergraduates.‘ Undeclared majors are freshmen, who have not yet
decided on their primary focus, but will do so before their junior year. Those
working on a Bachelor of Arts degree are those who neither want public school
certification nor performance, yet still are most interested in music. At the
graduate level there were 145 performance majors, followed by 24 music
education majors, 30 in conducting, seven in composition, six in music therapy,
five in theory, six in musicology, and two in pedagogy, totaling 231 graduate
students. Seventy four faculty members are assisted by eight secretaries, two
piano technicians, one recording technician, and one publicist. Sixty graduate
students have quarter-time assistantships (c.10 hours per week).
MW

There are several compelling reasons for doing this study. First, it has
never been done in dissertation format. Doing it as a dissertation would insure
that the information would not be lost and would be accessible to anyone
interested. The only historical study of the total department, by Wilson Paul
(1979), director of the Michigan State Lecture-Concert Series for many years, is
unpublished and virtually unknown. There are a few mimeographed copies in
existence. James Forger, director of the School of Music, has one, as does
Kenneth Bloomquist, former director. University Archives also has a copy, but to
retrieve it the researcher must know it is unpublished, since it is filed with
unpublished materials rather than with School of Music materials.

Second, information about the School of Music is scattered in different

places in the university: for example, University Archives in Conrad Hall; the
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Main Library; the Music Buildings; the lntemational Center; the Alumni
Association offices in the Union; the Hannah Administration Building; and
Special Collections. There is information on the computer system as well. Much
information was discovered by reading general university documents, like
catalogues and graduation programs, because it is not available separately.

Third, there are many professors who served during the last 50 years still
living, who can contribute personal insights to the study. If this pool of
information is not tapped now, it may be lost forever.

Wilson Paul’s Music at Michigan State (1979) includes research up to
about 1975, with the time from 1975 to 1979 spent in writing. Thus there has
been a 25-year period that has not been compiled at all. Professor Emeritus
Kenneth Bloomquist, former MSU band director and director of the School of
Music, planned to update Wilson Paul’s work with Professor Emeritus Edgar
Kirk, former bassoon and theory professor and Associate Director for Graduate
Studies. They passed the information that they had collected on to me,
contributing a great deal to this dissertation. Also, according to Professor
Bloomquist, Professor Emeritus H. Owen Reed, former chair of Theory and
Composition, is encouraging emeritus faculty to donate their memoribilia to
University Archives, as he has done. Beryl Falcone, wife of long-time MSU band
director Leonard Falcone, has donated the Leonard Falcone Papers, 1916-
1985, which is available in Archives. The H. Owen Reed Collection has been
catalogued in the Music Library (4 West, Main Library) by Mary Black, music
librarian, and her workers, and is housed in Special Collections in the Main
Library.

Historical research does not occupy a major place in music education,

but it is interesting that a number of similar dissertations have been written on

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various schools of music. George Heller (1995) lists 42 studies in Historical
Research in Music Education: A Bibliography. Allen Britton, (1984), a past
president of the Music Educators National Conference (MENC), feels that since
much research is done in graduate schools, and since much of that is
experimental, graduate schools should change their focus and require more
historical research. “T here should be a preponderance of historical studies, I
think, because such studies are best calculated, in my opinion, to bring
understanding and wisdom to those who will be the leaders of our
profession”(p.56). He says that to know the methodologies of the past is to avoid
re-inventing them.

Knowing the history and traditions of an institution is a means of either
developing pride or motivating change, depending on the course taken. The
Spartan Marching Band publishes its history every year for new band members
to Ieam. Curiously, it is the only MSU musical organization to have recorded its
history. John Madden, current director, uses history to help foster the pride and
discipline necessary to keep the MSU marching band functioning at an
extremely high level. It is my hope to Similarly foster pride in the rest of the
School of Music, for students, teachers, and alumni. I started this. project feeling
that I had received a good education at Michigan State that had served me well
as a music teacher. My research has caused me to realize that there are far
more things to be proud of than I originally realized.

P r n Pr m

The purpose of this study is to trace the history of the School of Music at
Michigan State University from the founding of the college to the present. Since
the Span is nearly 150 years, the early years will be presented in abbreviated

form, but the original mission of the college is still important today and needs to

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be reiterated.

Michigan became a state in 1837 and that year the Legislature created
the University of Michigan. The University served people in almost every field,
except the scientific teaching of agriculture, in a state where ninety percent of
the population at the time was engaged in agriculture. In 1849 the State
Agricultural Society was formed, and in 1850 it petitioned the State Legislature
for an agricultural college. The legislature then petitioned the Congress of the
United States for a grant of 350,000 acres to foster agricultural education in
Michigan. Also in 1850 the Constitution of the State of Michigan was revised,
and this included a provision to establish an agricultural college. This was done
before the United States Congress responded. Both the University of Michigan
and Michigan State Normal College (now Eastern Michigan University) wanted
the new school, but it was finally deemed preferable to establish it at an
independent site.

Michigan Agricultural College (MAC) was legally established in 1855, but
the first students did not arrive until 1857. In the meantime Justin Morrill,
congressman from Vermont, wrote a bill to provide financial help for MAC, as
well as for every other state in the union, for the establishment of land-grant
colleges. President Buchanan vetoed the bill, so Morrill held it until the
administration changed. After he became a senator, he resubmitted the bill,
which passed both houses and was signed into law by President Abraham
Lincoln. The Morrill Land Grant Act of 1862 was the direct result of the Michigan
petition to Congress on behalf of agricultural education. Morrill’s dream was to
establish in each state at least one college “where the leading object shall be,
without excluding other scientific and classical studies and inclUding military

tactics, to teach such branches of Ieaming as are related to agriculture and the

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mechanic arts in order to promote the liberal and practical education of the
industrial classes in the several pursuits and professions in life”(Blair and Kuhn,
1955, p. 35).

The original mission of MAC was to educate the farmers of the state in a
four-year program and to provide outreach and support services to the
communities of the state. The first few years were financially difficult, and in
1860 the State Board of Education, who then governed the college, cut the
program back to two years. The State Agricultural Society protested to the
Legislature, which restored the four-year program and created in 1861 the State
Board of Agriculture to govern the college.

The Morrill Land-Grant Act, which was based on the MAC model, placed
funding on a firmer foundation and allowed research to be added to the
mission. The three-part mission of education, outreach, and research is equally
important today and has been important throughout the growth of the university.
I knew that outreach was important, Since an outreach activity, the Summer
Youth Music program for high school students, brought me to Michigan State as
a teenager, but I did not understand the role of research. Knowing this history
has broadened my understanding of research and seems important to
communicate to those who read this dissertation.

The problems are as follows:

1. To document important dates in University and School of Music history.

2. To document types of majors and degrees, when they were established, and
what they entailed.

3. To document the composition of the student body regarding majors,
including the rise in the numbers of international students.

4. To document Significant changes in programs.

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5. To document those who have taught here.
6. To document outreach activities that have impacted the student body and
the curriculum.
7. To record musicians and activities that have been brought to the campus to
enrich the lives of students.
8. To interview teachers, emeritus faculty, and graduates over the years to
Ieam their insights into educational processes and historical events.
Limitations
This study does not include any attempt to trace the finances of the
School of Music other than by including random facts when they are available.
The largest limitation is the knowledge that some information is not complete,
particularly the list of professors. Those who were here a very short time, who
were sabbatical replacements, or who were part-time employees may have
been missed. I decided not to include sabbatical replacements of short duration
(less than a year), but some may have been included because I could not find
confirmation of their purpose. There are other instances where information is
not available for a particular year. The fact that storage space in the Music
Building is very limited has meant that some things were not saved. Having
information scattered all over campus, from University Archives, the Main
Library, the Music Buildings, the lntemational Center, the College of Arts and
Letters, and the Hannah Administration Building, made tracking difficult.
Hopefully all aspects have been covered adequately. This study is

chronological and descriptive in nature.

CHAPTER TWO
RELATED LITERATURE

Three different kinds of material have been consulted for this review of
literature: (a) techniques for historical research, (b) dissertations describing
other college or university music departments, and (0) information about the
School of Music at Michigan State University.

The following books on historical research were consulted: Research in
Music Education by Rainbow and Froelich (1987); The Handbook on Research
on Music Teaching and Learning (1992), Richard Colwell, editor, which
included chapters entitled “A History of Music Education Research” by Michael
Mark and“Historical Research” by Heller and Wilson. Others were: Qualitative
Research Methods for the Social Sciences (1998) by B. L. Berg; E. Gordon’s
Designing Objective Research in Music Education (1986); and Heller’s
Historical Research in Music Education: a Bibliography (1995). Heller and
Wilson's “Historical Research” was very useful, since it described in detail how
to do historical research. Topics included “Choosing a Topic,” “Building a
Bibliography,” “Gathering the Evidence,” “Verifying the Sources,” and “Overall
Design,” among others. The paragraphs on writing a proposal were especially
helpful. Heller’s bibliography provided the sources for the dissertations read.

A number of articles were consulted. George N. Heller, editor of the
Bulletin of Historical Research in Music Education, has written several articles:
“Historical Research: A Qualitative Perspective,” in the Bulletin of the Council for
Research in Music Education (CRME)(1996), and “Historical Research in Music
Education: a Prolegomenon” in the Bulletin of the Council for Research in
Music Education (1982), with Bmce Wilson. The authors reported that when the
Journal of Research in Music Education (JRME) was edited by Allen Britton,

8

 

from 1952 to 1972, 10 of 38 articles involved historical research, but between
1976 and 1979 there were none, and subscriptions fell off.

Edgar M. Turrentine wrote “Historical Research in Music Education”
(1973) in the Bulletin of the Council for Research in Music Education.
Turrentine says: “The raison d’etre for historical research in education has
been succinctly stated by R. Freeman Butts and Lawrence A. Cremin: [A History
of Education in American Culture]

...to help educators understand what their present problems are,

how the problems have arisen, what the advantages and dangers

of the past have been, what forces from the past are still at work in

the present, and what we have to reckon with as we move into the

future (1953, p. viii).
In other words, one should examine the past in order to make decisions in the
present about the future” (1973, p. 1). Turrentine suggests that each generation
rejects past practices and evolves new jargon, and that any survey of related
literature is historical research. The Turrentine article and the Heller and Wilson
article in the Colwell book are necessary reading for the historical researcher.

Heller (1995) lists 42 studies of schools of music in Historical Research in
Music Education: A Bibliography. Some are master’s theses, some are histories
of conservatories, and some are histories of programs in institutions
comparable to Michigan State. I read Music Education in Texas Higher
Institutions, 1840-1947 (1 951) by Roy Jefferson; The History of the Crane
Department of Music, (1965) by William D. Claudsen; A History of the Florida
State University School of Music (1973) by Marilyn Swingle; A Comparison of
the History of the Departments of Music at the University of Toledo, Findlay
College, and Bowling Green State University (1976) by Richard E. Barber; A

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History of the Louisiana State University School of Music , 1955-1979 (1983)
by Brenda Gale Williams; and A History of the University of Illinois School of
Music, 1940-1970,0986) by Albert D. Harrison to learn what others felt was
important and how they organized their material. Later I read College Music on
the Konza Prairie, a history of the music department at Kansas State University,
by Byron W. Jensen, Kansas State University, 1990. Dissertations were
purposely chosen from different geographical areas and from different
perspectives in order to get a broad range of ideas.

The exploration of the music departments of Texas colleges and
universities by Roy Jefferson (1950) was among the most helpful. Jefferson
investigated 15 schools and developed 20 criteria for evaluating the programs
for his dissertation at the University of Texas at Austin. His list of criteria was
helpful for developing the list of topics that were investigated in this paper.
Claudsen (1965) listed a table of milestones of the school. He organized his
paper by administrator, rather than simple chronology, so that chronological
events are linked to the person in charge when the events occurred These two
techniques were utilized here.

Brenda Williams’ (1983) history of the School of Music at Louisiana State
University (LSU) reports on the tenure of Dr. Everett L. Timm, an administrator of
the School of Music from 1955-1979. She investigated faculty, curricula,
enrollment, degrees awarded, facilities, budget, expenditures, performing
groups, performances, and special events. Williams conducted interviews with
past and present students, faculty, and deans, and examined university and
School of Music records and publications. This study is a continuation of an
earlier dissertation on the history of LSU’S School of Music by Charlie Roberts.

Because Williams investigated far fewer years than most, and because the

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years were relatively recent, She had access to more data and could go into
subjects in greater depth. With the exception of financial matters, I have used
her topics as a foundation. Williams had problems with gaps in information, but
she offered the most complete list of sources, getting information from the
School of Music, the Office of the President, The Office of Academic Affairs, the
Office of the Comptroller, the Office of the Chancellor, the Office of Institutional
Research, the Office of Public Relations, and the Office of Records and
Registration. This list of sources was particularly useful in presenting ideas of
places for me to search.

Byron Jensen’s (1990) dissertation was especially helpful, since it
devoted a whole chapter to the land-grant aspects of Kansas State’s origins.
Since MSU claims to be the first land-grant college, it was interesting to find that
Kansas State also claims to be the first. Both claims are legitimate if one takes
into account the circumstances. Michigan Agricultural College was established
before the Morrill Land-Grant Act (LGA) of 1862, and thus was the impetus and
prototype for the LGA. Kansas State Agricultural College, forerunner of Kansas
State College (K80) and Kansas State University (KSU), opening on
September 2, 1863, was the first college established after the passing of the bill.
Kansas State was way ahead of Michigan State in recognizing music, since it
had a department of music from the very beginning. Jensen said: “From the
outset, a proviso of the Land-Grant Act directed land-grant institutions to retain
the liberal arts tradition and develop practical curricula in mechanical arts and
agriculture” (1990, p. 6).

Jensen organized the dissertation by administrations, and also included
transcriptions of eight interviews and 14 photographs. I will include as many

photographs as possible. His Table of Contents and Bibliography were also

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extremely detailed and useful.

The masters thesis of Marianne Smith, (1983) describing the
development of the music therapy program at MSU, was rich in historical
details. Working for her MA in music therapy at MSU, Smith conducted a
number of interviews with professors and graduates, read extensively about
therapy programs, and included class notes of Roy Undenivood, who
established the first music therapy program. Her information on therapy at MSU
and her bibliography were very helpful.

The most helpful aspect of the reading was observing the authors’ use of
appendices and charts to present a tremendous amount of information
efficiently. Each study contributed to my understanding of the process and
helped me to decide what I wanted to include and how to do it.

Regarding Michigan State, Wilson Paul’s unpublished history, Music at
Michigan State (1979) covers the years between 1870 and 1975. He did much
research, especially for the early years, and l have used much of his material.
He did not include a bibliography. Madison Kuhn’s Michigan State: the First
Hundred Years (1955) is a fascinating description of the origins of MSU.
Though references to music are few, it contains an excellent description of the
partnership of M80 and the Lansing Conservatory (c. 1928-1932). The book
includes many photographs. Blair and Kuhn’s A Short History of Michigan State
(1955) is a condensed version, but includes a time line which was very useful.

The First Three Decades of Home Economics at MSC (1947) by Maude
Gilchrist, Dean of Home Economics, MAC, 1901-1913, was published by the
department as part of the observance of the fiftieth anniversary of the beginning
of home economics at Michigan State. Old Abbot Hall was the first home of the

women’s course. Eventually this became the old music practice building. The

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st Women’s Building is now Morrill Hall, named after the author of the Land
'ant Act. This small book gives a detailed account of what life was like on
.mpus for women and includes the music course that all women were required
take.

Seventy Five Years of Performing Arts at Michigan State, 1912-1987
388), published by the MSU Press, edited by William Luedders, describes the
cture-Concert Series over the years. The years 1912 to 1961 were written by
lson Paul, while the later years were chronicled by Kenneth Beachler. Each
3 a head of the Lecture-Concert Series. Photographs of the buildings and
ny of the performers are included. A list of lecturers and artists is printed for
:h year from 1912 to 1987. Paul and Beachler each present a written history
he main events as well as the programs.

The preparation of teachers at Michigan State University (1968) by Victor
doll, given to me by Cynthia Taggart, traces the history of the School of
cation, now called the College of Education. Several new facts emerged in
book, as well as confirmation of details from other sources.

The life and work of Leonard Falcone, with emphasis on his years as
star of Bands at Michigan State University, 1927 to 1967, is a dissertation
lyron Welch (1973). Welch used Annual Reports of the Secretary of the
a Board of Agriculture, catalogs, bulletins, and yearbooks for his research,
rell as interviews with Falcone, Mrs. Falcone, colleagues, and the university
ivist. Falcone was regarded as one of the outstanding artist-teacher-
>rrners of the euphonium, though he considered his band work his most
'rtant function. Falcone saw his inability at public relations as his greatest
mess, His total dedication to his position and drive for perfection made him

"Standing role model for his students and the profession (Welch, DAI, 34,

13

 

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The Leonard Falcone Papers, 1916-1985, can be found in University

Archives and Historical Collections in Conrad Hall. The collection contains
audio reels, video-tape, movie film, papers, sheet music and photographs as
well as boxes of biographical files, correspondence, concert programs,
memoribilia, news clippings, professional papers and scrap books. It also
contains texts or methods Falcone used as teaching aids and complete scores

of all the pieces performed by the MSU band over 40 years.
The H. Owen Reed Collection has been catalogued by Mary Black, music

librarian, and her staff in the Fine Arts Library. It includes scores of all his
compositions and correspondence relating to them. An especially large
segment relates to Michigan Dream, Reed’s opera composed for the Centennial
celebration of MSU in 1955. Programs from every place he conducted and
programs sent to him when his pieces were performed are included. Copies of
the eight books he authored or contributed to are also present. A Christmas
card from Mario Castelnuovo-Tedesco, a composer who was a guest artist at

MSU in 1958-1959, is an example of the memorabilia involved.

Other sources of information are Music Notes, the magazine of the
School of Music, 1977 to the present, Muses, the magazine of the College of
Arts and Letters, recital and concert programs, newsletters from the head of the

department to faculty, staff and graduate students, alumni magazines,

Yearbooks, annual reports when available, commencement bulletins, catalogs
Of academic programs and descriptions of courses, faculty listings, MSU fact

t">‘3k53. Registrar‘s Office Statistics, and newspaper articles. A number of people

have also been interviewed.

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CHAPTER THREE
PROCEDURE

After receiving permission from Kenneth Bloomquist and Edgar Kirk to
take over their project of updating the history of the music department and
talking to James Forger about the plans, I searched the catalog of the Main
. Library. Much information about MSU is housed on the fourth floor East, where
course books, catalogs, commencement programs, Madison Kuhn’s books, and
news clippings are located. Next, James Forger provided a copy of Wilson
Paul’s Music at Michigan State, an unpublished manuscript finished in 1979.
He also gave permission to inspect material housed in the music building.
While personnel files were unavailable, everything else was open. There were
programs from many years of concerts, though some years were missing.
Publicity, minutes of department meetings, and newsletters for about 20 years
were available as well.

The application for permission to interview people was sent to the
University Committee for Research on Human Subjects (UCRIHS), along with
letters of approach to emeritus professors, current professors, professors who
were also alumni, and former students. (See Appendix A.) When permission
Was granted by UCRIHS, letters were sent to potential sources of interviews,
a'Ong with a self-addressed, stamped envelope. After the forms were returned,
i"terviews began. The original intent was to tape record the interviews, but after
chh technical trouble, the taping was abandoned. In retrospect, it would have
been better to have all interviews taped.

Linda Dunn, then the publicist for the music school, provided copies of
Masic Notes, a newsletter sent to alumni for a number of years. The office of the

College of Arts and Letters provided copies of Muses, a similar publication from

15

the College of Arts and Letters.
University Archives yielded much information. Since Archives has

duplicates of the books previously cited in the Main Library, tables and charts
were begun there, in order to have hard information in as concise a form as
possible. The first table completed was the list of professors, when they were at
MSU, and what they taught. This was done both alphabetically and
chronologically. Then the list was separated into smaller lists: Heads of the
Music Department, Voice, String, Woodwind, Brass, Percussion, Piano,
Ensemble Conductors, Music Education, Music Theory, Composition, Music
Therapy, Musicology, and miscellaneous faculty or staff.

The following Archive records were consulted: The Lewis Richards
Collection, the Leonard Falcone Collection, maps of the University at different
times, everything filed under UA 16.86 School of Music, UA 15.9.3 Lecture-
Concert Series, and UA 16.34 Cooperative Extension Service Records.
Nowhere in either Music Department or Cooperative Extension Service
Records were the names of the music extension workers listed. (See Appendix
X.) Miles (1964) listed names and salaries, but this could not be confirmed.
Finally Margaret Dionese, in Academic Personnel Records, found the original
Agriculture Board record, proving that Miles was hired at a handsome salary for
her time.

Next a table of University and Music Department milestones was
Cornpiled, following the example of Blair and Kuhn (1955) and Claudsen
(1965). The Office of Asian Studies in the lntemational Center yielded
infOrrnation on Asian students over the years. Interestingly enough, this
information has not been available for the last few years. Staff cutbacks have

made it impossible to get to this task, according to an office worker.

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Much time was spent trying to make a table of graduates of the music
department: how many each year, in what musical field (i.e. performance,
education, therapy, theory, musicology), and what degree granted: bachelor’s,
master's, or doctorate. This was started in the office of the lnforrnation Officer of
the School of Music, first Linda Dunn, then Kathy Walsh, and now Jill
MacMillan. The Alumni Office sends a list of graduates to each respective
school or department each year. It did not take long to discover that this list
would not be too helpful, at least for the early days, because frequently people
were listed in the wrong field.2 Thus information from graduation programs from
the various years was compliled instead. These programs were the source of
the final product, although the information is not entirely accurate. Some
graduates were listed in more than one graduation program, and it is possible
that some are not listed at all.

Mary Black, the music librarian at the Main Library, gave several
suggestions at the beginning of the research. However, in the summer of 2000,
she began giving sources that had not been discovered previously. Part of the
Process is to learn enough about the subject to ask the correct questions. Once
the right questions were asked, much more information was forthcoming. Black
aIIOWed me to see her postcard collection and to photograph a few for this
dissertation. She also allowed the viewing of the H. Owen Reed Collection,

even though it was in the process of being catalogued. She suggested other

names and books as well.
A similar situation occurred with Kathy Walsh, Information Officer of the

SC=|"Iool of Music, who let me investigate alumni records, clippings, photos, and
other material in her office. Gaps in information were filled from her files as well.

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project for Music Notes, 1999, and the e-mails were the result of that article. This

was how I learned the story about the adoption of MSU Shadows as the alma

mater.
During all this time, interviews, over 40 in all, were conducted. Each

person interviewed had a unique perspective on events that cannot be gained
by reading a generic account. Conducting the interviews was fun and gave life
to the other less interesting aspects of the research. Each person was asked
who his or her most influential teachers were and if there were any significant
events that should be mentioned. Thus the interviews with former students are
focused on teachers who made a difference.

James Forger, head of the School of Music, told of a family who was
planning to donate its collection of old music department documents. Dr. and
Mrs. David Johnson, of East Lansing, had a number of documents of interest.
Mrs. Johnson’s father, Robert Coleman, was the business manager of the
Michigan State Institute of Music and Allied Arts, which was the merger of the
MSC music department with the Lansing Conservatory of Music in 1928. Lewis
Richards, head of the Music Department and the Institute, was appointed
American director of the Salzburg Mozarteum for the summer of 1932, and took

a QI'OUp of people from the Institute, including the Colemans, to Austria to study.

The Johnsons’ memorabilia are from that trip.
In the spring of 2001, Mary Cotton, Office Manager for the School of

Music, transferred to Archeology, and the restructuring of the office resulted in
all the old records, which had been jammed into two practice rooms for years,
[’3an moved into a larger space, Room 24 MB. Several student office workers
had stopped working due to illness, so I was hired to fill in. The job of organizing

the Old records, cataloging what was there, and discarding what could be

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discarded, became mine. After asking for years if there were old records around
and getting nowhere, I discovered annual reports and staff meeting minutes for
all the Roy Undenrvood years (1940-1957) and annual reports for many more
years after that. As a result, this dissertation is much more complete and much
more accurate than it would have been had it been written earlier.

In the meantime it was also necessary to work on a chronology of
conductors of all the various ensembles. Though the main ensembles are
conducted by professors in the School of Music, many ensembles are
conducted by graduate students in conducting, and records of these had not
been kept. However, each ensemble has kept programs of their concerts.
Ensembles directed by graduate students were discovered by going through

old programs. When all the tables were completed, it then became possible to

begin writing text for succeeding chapters in an organized way.

19

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CHAPTER FOUR
THE EARLY YEARS

In 1837 the Michigan Territory became a state. The Legislature passed a
law establishing a state university, which was entitled to a Congressional grant
of 72 square miles of land, or almost 50,000 acres. This became the University
of Michigan, located in Ann Arbor. It was directed to establish branches at other
places, where there should be departments of agriculture. Instead, the
University Regents established preparatory schools. E. H. Lothrop, orator for the
first State Fair in 1849, pointed out that four-fifths of the state’s children would
be farmers, yet there was no place where they could study farming or
agriculture. There were nearly 200 colleges in America, but none taught
agriculture, and few taught more than elementary chemistry or biology. The
State Agricultural Society, founded in 1849, lobbied successfully for an
agricultural college.

In 1850 the Constitution of the State of Michigan was revised, including a
Provision to establish an agricultural college. The Legislature then petitioned
the Congress of the United States for a grant of 350,000 acres to foster
agricultural education. Both the University of Michigan and the Michigan State
Normal College in Ypsilanti, the teachers’ college, wanted and fought over the
agricultural school, but it was ultimately decided that an independent site would
be better. Of the nine parcels of land offered for the college, the present location
in East Lansing was the one selected, since it was close to a new plank road
from Detroit (Kuhn,1955, pp.1-6).

Michigan Agricultural College was legally established in 1855 and
Opened With 63 students in 1857. There were three buildings: a classroom

b . .
”"deI: a dormitory, and a Dam-workshop. Madison Kuhn’s Michigan State:

20

7he First Hundred Years (1955) gives a fascinating description of all the
circumstances involved in the founding of the college. The State Board of
Education was to administer the school, but when it decided to change to a two
year program, the State Agricultural Society protested to the Legislature, which
then transferred administration of the school to the State Board of Agriculture.

In the meantime, the petition to Congress was debated but not acted
upon, and soon Congressman Justin B. Morrill of Vermont presented a bill
known as the Morrill Land-Grant Act. Morrill was impressed by the MAC model
and decided that every state should be granted land by the federal government
for an agricultural school. When the bill first passed, President Buchanan
refused to sign it. Morrill waited for a new president, and in 1862 Abraham
Lincoln signed the bill into law. By this time Morrill was a senator. Michigan
Agricultural College (MAC) was the prototype for Morrill’s bill, and he is
commemorated on campus with Morrill Hall. Since the grant was based on the
MAC model, Michigan State claims to be the first land-grant college, though in
fact it was established before the Morrill Act. Kansas State also claims to be the
first land-grant college and was the first college established after the act was
Passed.

Morrill’s dream was to establish in each state at least one college “where
the leading object shall be, without excluding other scientific and classical
StUdies and including military tactics, to teach such branches of Ieaming as are
related to agriculture and the mechanic arts in order to promote the liberal and
pr actical Education of the industrial classes in the several pursuits and
professions in life” (Blair and Kuhn, 1955, p. 12). The original mission of
MiChigan Agricultural College (MAC) was to educate the farmers of the state

and t0 Provide outreach and support services to the communities of the state.

21

The Morrill grant was especially valuable in Michigan, since the quarter
million acres allowed could be selected from the millions of acres of federal
land still unsold in Michigan. The land selected was in the form of an inverted V,
with its apex at Cheboygan and its sides at Tawas and Manistee. Money
realized from the sale of this land was used to support the college. The Morrill
Act helped funding and allowed research to be added to the original mission of
education and outreach.

The Civil War had a large impact on the school. The first graduating class
enlisted as a body in September, 1861, two months before commencement. By
1863 the Legislature created a military department at the college.

Since MAC was the first college of its kind, its curriculum had to be built
from scratch. One of the more interesting facets of the school was an early “work
study" program. Each student spent three hours a day working: felling trees,
clearing land, cleaning the barn, or whatever was necessary, hopefully to apply
lessons leamed in the classroom to the real world (Kuhn,1955, p.37). In an
announcement issued December 10, 1857 by the Secretary of the State Board
of Education, the following items appear:

1. Applicants for admission as pupils must have attained the age of 14 years,
and must have acquired a good primary education. (The latter was determined
by examinations in arithmetic, geography, grammar, reading, spelling and
Penmanship.)
2' Every student will be required to devote a portion of each day to manual
I«'ibor, for which he will be entitled to receive an equitable remuneration (Noll,
1968' 9-3)- (Students were paid from 5 to 10 cents an hour.)

In 1870 ten women were admitted to MAC in the agricultural program.

The University of Michigan admitted one woman that year (Kuhn, 1955, p.122).

22

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In that same year, Ransom Brooks, a student home from the Civil War, started a
Cornet Band and a drill unit. As early as 1877, students had choir practice on
Sunday mornings in preparation for church, which was held on campus,
Lansing and Okemos being too far away.

By 1888 spontaneous musical groups had emerged as regular student
activities. Students organized and supported the following seven musical
groups on campus when enrollment was only 312 students (Paul, 1979, p. 3):
1. Robert Stanley led a small college choir of a soprano, tenor, 2 basses

and organist.

2. The College Ouartette had two tenors and two basses.

3. The College Glee Club had 16 men.

4. The Mandolin Club had a mandolin, zither and two guitars.

5. The String Band had five banjos and five guitars.

6. The College Band, led by l. E. Hill, the first comet, had nineteen

members, including the drum major.

7. The Orchestra, led by F. H. Hillman, first violin, had two first violins, two
second violins, two comets, a bass viol, and a clarinet.

In 1896 President Jonathan Snyder took office and said: “Without music
a home is not a home, so we will require that the girls who come to our college
to take a Home Economics course shall have two years of free classes in
Piano---”(Paul, 1979, p. 4). Art could be substituted for piano lessons. This was
the beginning of the Home Economics Course for women. Maud Skidmore
Marshall was appointed first head of Music, Instrumental. She was the first
faculty member in music, and piano lessons were the first credit course in
music. Students could elect four years of music, receiving instruction in sight

I"hiding. theory, and history along with Diam-

23

By 1900 choral work became part of the Woman’s Course, but men could
join. The new Woman’s Building, now Morrill Hall, housed 60 women and staff.
The building included several piano practice rooms and a large parlor with a
Steinway grand piano. In 1902 Maud Marshall presented H. M. S. Pinafore by
Gilbert and Sullivan, the first major musical production by the MAC Chorus.
Marshall left that year when her husband went to Massachusetts Agricultural
College, and Miss Louise Freyhofer took over. Freyhofer taught piano but also
prepared choruses to present cantatas and oratorios. This led to the
establishment of a May Festival in 1904, during which Parts I and II of Haydn’s
Creation were presented in the Armory. In 1907 President Theodore Roosevelt
attended the Semicentennial Celebration. The chorus performed
Mendelssohn’s Elijah for this event. The college also adopted an Alma Mater,
with words by Secretary of the College A. M. Brown, set to the tune of the
Cornell Alma Mater.

Close beside the winding Cedar’s sloping banks of green,
Spreads thy campus, Alma Mater, fairest ever seen.

Swell the chorus! Let it echo over hill and vale;

Hail to thee, our loving mother, M.A.C., all hail.

East Lansing was incorporated as a city in 1907, but it had already
existed as Collegeville for 20 years. The majority of the 800 residents were
employed by the college. Street names perpetuate the memories of Presidents
Abbot, SnYder, and Butterfield, and of Professors Beal, Kedzie, Bailey, Durand,
Marshall, Bogue, and Baldwin. To protect the morals of the students, the Charter
said it was “illegal to manufacture, sell, keep for sale, give away, or furnish any

vinous, malt, brewed, fermented, spiritous or intoxicating liquors” (Kuhn, 1955,
P. 254).

24

In 1908 Earle Killeen came from Ann Arbor once a week to conduct the
chorus, and in 1910 Earle’s brother Fred replaced him to conduct chorus and
glee club, teach voice, and direct the May Festival. In spite of all he did, he was
not considered faculty. Grace Scott was hired as instructor in music. Officially
the music department was part of the Woman’s Division with two instructors,
Freyhofer and Scott. The band was in the military department.

In 1912 the governing board of MAC authorized a blanket tax of six
dollars per student per year for student activities. Five dollars was for athletics
and one dollar for the liberal arts (Luedders, ed.,1988, p. 7). The Liberal Arts
Council scheduled five lectures and appropriated $100 for a winter concert and
$400 for a May Festival of music to be held in the Armory. The subsidy allowed
the directors of the May Festival, A. J. Patton and Fred Killeen, to hire
professional soloists to supplement the student choruses. The Armory was on
the site of the current Music Building and held 700 chairs. The Liberal Arts
Council sponsored cultural events on campus until 1925, when its name was
changed to Michigan State College Artists Course.

In 1911 Professor Bruce E. Hartsuch of the Chemistry Department and
Fred Killeen organized the Mens Glee Club with 18 members. Mabel Leffler
replaced Grace Scott. Killeen’s chorus of 175, all the members of all the
choruses, with a 20—piece M.A.C. orchestra presented Haydn’s Creation for the
11th May Festival in 1914. Men’s Glee Club became very papular and toured in
"'9 springs of 1 913, 1914, and 1915. Killeen was so busy that A. J. Clark of the
ChemiStrY Department, who was already directing the band, took over the
Omhestra as well. In 1916 Fred Killeen left Lansing. Fred Abel of Detroit was
hired as director of band, chorus, and glee club. His salary was budgeted under

Miscellaneous, since there was still no department of music. Abel was a cellist,

25

 

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but orchestra was not part of his assignment.

In 1917 F. I. Lankey wrote the Fight Song, which became the official
College Song in 1919, after Lankey’s death in an airplane crash. Below are
printed the original words as well as the current version. There was also at least
one intermediate version, sung in the fifties when MSU was still MSC, and there
may have been others.

On the banks of the Red Cedar, there’s a college known to all;
Their specialty is farming, but the farmers play football.

Aggie teams are never beaten, all through the game they fight.
Fighting for the only colors, green and white.

Smash right through that line of blue,

Watch that score keep growing,

Aggie teams are sure to win,

They’re fighting with a vim, rah, rah, rah!

Michigan is weakening, we’re going to win this game;

Fight! Fight! Rah, team, fight! Victory for MAC. (Original words).

On the banks of the Red Cedar is a school that’s known to all;
It’s speciality is winning, and the Spartans play good ball;
Spartan teams are never beaten, all through the game they fight;
Fight for the only colors, green and white.

Go right through for M.S.U., watch the points keep growing.
Spartan teams are bound to win,

They’re fighting with a vim, rah, rah, rah!

See their team is weakening, we’re going to win this game.

Fight! Fight! Rah, team, fight! Victory for MSU. (Words adopted

26

 

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In 1916 there were only four divisions at MAC: agriculture, engineering,
home economics, and veterinary medicine (Hill, 1968, p. 2). The Engineering
building burned in March, 1916, and the fate of the department hung by a
thread. Rooms for classes to meet were found all over campus as well as in
Lansing’s Municipal Light Plant. Because of the lack of normal facilities and
equipment, Professor Victor T. Wilson said that “equipment does not make a
college: it is teachers and a condition of intelligent understanding between
students and teachers”(Kuhn, 1955, pp. 267-268).

World War I had a large impact on the band. Previously freshmen and
sophomores had been allowed to substitute band for military credit. The war
forced all male students into the Reserve Officers Training Corps (ROTC), thus
dooming the band. Faculty and students agreed to pay band members $25.00 a
year to stay in band (Paul, 1979, p.35). Even so, the band’s activities were
much curtailed. There were no women in the band. At the 1918
commencement, the whole musical program was performed by the Girls’ Glee
Club.

In the fall of 1918, chemistry professor A. J. Clark again became director
of the Band, plus Chorus, Orchestra, and Glee Club. An influenza epidemic
disrupted the entire campus that fall.3 Only the women and faculty were not
quarantined. The band did play at the Michigan football game on November 22.
The ending of the war also disrupted the campus. The Student Army Training
CPipe was disbanded and the officers transferred elsewhere, thus depleting the
student enrollment, which went from 2000 in 1915 to 800 in January 1919, with

a third being women. The band was reorganized with 25 members and

 

’ Thelinfluenza epidemic was worldwide and killed 20 to 40 million people, one fifth of the world
popu ation.

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rehearsed in a band room in the gym. By spring term it had moved into new
quarters in the Armory, where it remained until the completion of the Music
Building in 1939. The gym involved was the gym on West Circle Drive, which
became the Women’s Gym and is now the lntra-Mural Building, Circle Drive,
known as I-M Circle.

In 1919 the State Board of Agriculture appointed Professor John Siebert
Taylor Director of Music for the college. In that year, required piano lessons for
freshmen and sophomore women were dropped, and Louise Freyhofer
resigned to teach privately at home (Gilchrist, 1947, p. 31). College credit was
still granted to college students who continued to study with her. Taylor’s
mission was to create a “singing college as well as a yelling college” (Paul,
1979, p. 46). Taylor felt that the students yelled their songs instead of singing
them. He wrote a book of songs designed for MAC and wrote a college song,
“Song of the Aggies,” as well.

The MAC Record reported that a college orchestra would soon be
organized by Taylor, and the band, glee clubs and musical union would be

reorganized. There was a prospect of a permanent music department. The
offices would be located in the gym at the right of the entrance. The musical
course offerings did not change. Seven courses were offered for one credit
each: voice, piano, harmony, advanced harmony, ear training, music
appreciation, and chorus (Paul, 1979, p. 47). Band was still in the military
department. Taylor was successful enough that the Board of Agriculture passed
a resolution in 1920 that a Department of Music be created, with a budget of
$560 (Paul, 1979, p. 50). Courses could now be offered for credit to all students,
”Oi lust women. A high school band tournament was planned as a recruitment

iOOL but it did not occur until 1924. The Board of Agriculture appropriated $3000

28

 

 

 

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to the military department for band uniforms. These were khaki serge with
officers’ caps and spiral leggings. Cords of green and white distinguished the
band from regular military officers. During the 1920-21 season the music
department was located in a former house on campus that had been remodeled
and was known as the “Music Centel” (Paul, 1979, p. 59). The band continued
to play at football games and parades. A Clown Band was established during

the fall of 1921. Taylor organized an orchestra of 23 members, which played at

the 1922 commencement.

 

MUSIC CENTER

Figure 1. 1922 Wolverine, yearbook of MAC. Music Center

29

 

Williams. Lr,_uthe

:rd 51. Baynese

FI Men
Skellcngcr ilartsell Llark Swalnson, WApplin, Minsllall

J. Siebert Taylor ................ .
H. R. Clark ..................... .

FIRST TENORS

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SECOND TENORS
H. R. Clark
5. E Hansel]
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PROF. A. J. CLARK
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PROF. J. S. TAYLOR
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During the summer of 1922 the Board of Agriculture increased music’s
appropriation to $8100 and approved the hiring of a new staff person in piano,
Gertrude Clark. Taylor was so busy now that A. J. Clark of the Chemistry
Department again took over the band. Taylor had required all 50 band
members to take private lessons, but 90 students were enrolled in band
instrument lessons, showing that interest was wider on campus than just the
band members. Taylor and Clark organized a number of joint band and glee
club concerts. In March 1923 the first attempt to broadcast live music over the
radio from the college occurred.

In 1923, the first graduate of MAC to achieve a musical career gave a
benefit concert on campus. Mary Allen, ‘09, a home economics major, gave a
voice recital to help provide funds for the new Student Union.

Mrs. Olive Dobson Henkel was appointed Instructor in Voice in October,
1923. Taylor hired her during a process of steady expansion that also allowed
music to be recognized as a minor. The course offerings did not change, but the

1923-24 catalog stated that entrance to the four-year course in music would be
by examination.

A unique use of music as a morale builder was encoutered during the
excavation for the Union Building, which was done by student and faculty
volunteers. Banol members played daily to help the diggers pass the time. A
clown band was formed, known as the Swartz Creek Band, and they
entertained at lunch time.

According to Albert LeBlanc, MSU professor of music education, clown
bands were very popular in the twenties. Unfortunately, the members at MAC
did not take good care of the school instruments, which led to the demise of the

group.

31

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Figure 3. Clown Band from 1924 Wolverine, Yearbook of MAC.

The high school band tournament was continued. Six bands competed in
the spring of 1924, but ten entered the following year. The judges were H. A.
Vandercook of Chicago, Professor J. S. Taylor of MAC, and Carl H. Dewey,
director of the Rec Motor Car Company Band. Each band played one march
selected by the committee and one number of its own choice.

In 1924, the creation of a new liberal arts course granting an AB degree
still did not change the music offerings. Five hundred sixty eight students were
enrolled in music courses, with voice the most popular class. Two new
instructors were hired, and four rooms in the Home Economics Building were
used to help deal with the space problem. Professor A.J. Clark resigned as -
band director, since his Chemistry duties had become increasingly demanding.
Carl KUlhrhan replaced him as band director and reorganized the college drum

and hegle corps. Kulhman also continued the high school band tournament.

32

 

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The MSC Record (MAC changed its name to Michigan State College in
1925), September, 1926, lists Taylor’s achievements as head of the music
department. After starting in 1919 as the only staff member with a few small
rooms in the gym, his department had grown to eight busy instructors training
almost 600 students and occupying the entire house just east of the Union plus
a half dozen more rooms in the Home Economics Building. He had convinced
the college not to charge extra fees to the music students and then arranged
free lessons for all ensemble members (Paul, 1979, p. 96). Students could even
major in music if the staff found them qualified. However, in the spring of 1927,
criticism of Kuhlman and the Swartz Creek (Clown) Band extended to the whole

department, since the students were abusing the instruments, and Taylor

resigned as chairman. He taught one more year.

33

 

 

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CHAPTER FIVE
THE LEWIS RICHARDS ERA (1927-1940)

Lewis Richards, an internationally known harpsichordist and pianist, was
appointed head of the Department of Music in 1927. This appointment reflected
an administrative decision to offer music training for professional careers and
concert work (Pau|,1979, p. 99). Richards’ office was in the Home Economics
Building.

Among Richards’ first acts were the appointment of Arthur Fanlvell, Hope
Halliday, and Leonard Falcone to the music faculty. Arthur Farwell was a noted
composer and conductor, and his responsibilities were history, music
appreciation, harmony, advanced harmony, orchestra, and chorus. Hope
Halliday, daughter of the Secretary of the College H. H. Halliday, taught the first
courses in public school music. These were brand new courses. Leonard
Falcone came from Ann Arbor, where he had graduated from the University of
Michigan in 1926. Both the University of Michigan and Michigan State College
wanted either Leonard or Nicholas Falcone, his brother, as band director.
Nicholas, the elder brother, was already married and established in Ann Arbor,
so Leonard, who was single, made the move to East Lansing. As Director of
Bands, Leonard Falcone received a salary of $2000.

Myron D. Welch, an MSU graduate who wrote his PhD dissertation on
Leonard Falcone, told this story, which Wilson Paul quoted. Falcone said:

I shall always remember the first rehearsal I had with the band.
The band sounded so bad that it was one of the most
disheartening experiences of my life up to that point. I was just
beside myself after that rehearsal and I told myself that I just can’t

associate myself with this group - it’s impossible. So the next day

34

 

I went to see Mr. Halliday, the man who had engaged me. I said,
“Mr. Halliday, I’m sorry, but the band is so bad that I just can’t
continue. I want to resign. I cannot possibly take the band to
Ann Arbor in three weeks for the annual football game and

compare it with the fine band at the University of Michigan.”

Mr. Halladay listened patiently, and when I finished he said,
“Leonard, I sympathize with your feelings, but let me tell you
something. Michigan State is still a small school, but it is well
known, and if you quit now you won’t be able to get a job

anywhere because you are a quitter. The unwritten rule is that

 

anybody has to stay on the job for at least two years. If anyone
quits before they give a job a good chance, no one will put any

confidence in you.”

I said, “My God, two years! How can I possibly live through two
years of this sort of thing?” Secretary Halladay then went on to
say: “Secondly, that is why we brought you here, because we want
this band to improve. Otherwise we would have brought anybody.

I don’t care how badly they play. Everybody understands this, but I
can tell from your attitude that they won’t be this way all the time -
you are going to do something about it. So don’t give up. As a
matter of fact, I don’t think I would accept your resignation anyway.
Stay at least two years, then if you still feel the same way you can
go. By then you’ll be able to find a better job” (Paul, 1979, p.185).

Falcone later said that he did not realize how bad a first rehearsal could sound

35

 

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and that he was tempted to resign every year after a first rehearsal (Paul, 1979,
p.185).

Other new instructors were Gladys Hodges, violin; Elsa B. Hoertz, harp;
and Philip Abbas, cello and ensemble. Abbas played in the Detroit Symphony
and came to East Lansing every Tuesday.

Richards had all school-owned instruments repaired and all materials
inventoried. The band finally became part of the Music Department, not the
military. The number of faculty was increased from six to twelve over the next
few years, and courses in Appreciation of Music, History of Music, Public School
Music, Cello, Harp, Chamber Music and Band Instruments were added.
Richards invited public school music contests to be held at MSC, and most
importantly arranged a relationship between MSC and the Lansing Public
Schools regarding practice teaching.

Enrollment in music courses rose to 1,313 during Richards’ first year, an
increase of more than 200 percent (Paul, 1979, p.104). Piano and voice were
most popular with 178 and 180 students each. Performance activities also
increased markedly. The orchestra gave nine public performances, and the new
chorus gave eight, both directed by Farwell, while the Men’s Glee Club, directed
by Taylor, gave six. The Military Band, directed by Leonard Falcone, made 39
public appearances.

According to The Record (1940), the music staff operated in five
bl”dings: the nursery, old Abbot Hall, Gym Annex (the old Armory), Olds Hall,
and the old Weather Bureau. Richards was very proud when the National

Ae‘SOGiation of Schools of Music (NASM) accredited the school in 1934.

36

 

 

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John Gould Mary Rohn L. B. Falcone

BAND UNIT

The Military Band has always been the pride of the Military Division and of
the Student Body. This year, as in past years, the band has performed in a
manner that sends a thrill of pride through every heart, from the football games
in the fall to the military reviews of the spring term. Under the direction of
L. B. Falcone the band has given concerts both at home and away. Mr. Falcone
is undoubtedly one of the best band directors in the country and was an official
at the National Band Tournament.

John Gould was outstanding this year as the Drum-Major.

The cn-ed sponsor for thegvear was Mary Rohn.

Figure 4. Picture from 1928 Wolverine, Yearbook of M80. Drum major,

co-ed sponsor, Leonard Falcone.

37

 

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Figure 5. Varsity Band. Picture from 1928 Wolverine.

38

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In 1928 the MSC Department of Music and the Lansing Conservatory

decided to merge. They became the Michigan State Institute of Music and Allied
Arts. Fred Killeen, who had returned to Lansing in 1925 as director of the
Lansing Conservatory, became assistant director of the Institute with Richards
as director. Classes took place at the Conservatory Building in Lansing and in
the old Weather Bureau building on campus. Wills House, which still stands,
became the new Weather Bureau building, and the old one was renovated for
music. Students who passed entrance exams received instruction free, whereas
everyone else paid.

Richards was able to bring to the school for the 1928-29 year Louis
Graveure, as head of the vocal department, and Michael Press, as head of the
violin department. Both were internationally famous. Richards also added
courses in orchestral instruments and organ. The high calibre faculty resulted in
high calibre students, who were much in demand as entertainers in the
community. On February 6, 1929, the first faculty recital was presented to a
standing-room only crowd in the gym.

Louis Graveure had the distinction, after 14 years as a baritone concert
singer, of becoming a tenor. He was equally successful in this role. He was
allowed one term free for concert work, and his summer master class drew
students from all over the country. One student was Ramon Navarro, a movie
star, who spent two months on campus. Graveure went to Europe in the fall of
1931 and just before Christmas he wired that he was not returning. Alexander
Kisselburgh, one of Graveure’s best known students, was hired to replace him.
Graveure, who was the first full-time voice instructor, did not formally resign until

the summer of 1932. Fred Patton became head of the voice department that fall.

39

 

 

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Figure 6. Michigan State Institute of Music, Wolverine, 1929.
In 1931, an announcement was made that Bachelor of Music degrees in
PianO, voice, organ, stringed instruments and public school music would be
granted beginning the following year. Previously only Bachelor of Arts degrees
in Public School Music had been granted. Both BA’s and EMS were granted in
Public School Music through 1938, when the BM became the only degree a
Studs?“ could earn in Public School Music.
Eighty student recitals were given in 1930-31 and 88 were given the
fOI'Ol'Vihg year. Concerts were held at Peoples Church, the Little Theater in the

Home Economics Building, and beginning in 1931, in Abbot Hall, a dormitory

40

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with a small 65-seat concert hall. (This Abbot Hall became the Music Practice
Building when the current Abbot Hall was built.) Concerts were also held off
campus, especially in the Lansing Eastern High School Auditorium.

The business affairs of the new Institute were so complicated that a
business manager was hired to keep track of finances. Robert J. Coleman came
from the RCA-Victor Talking Machine Company in New Jersey. In 1931,

Richards was appointed American Director of the Salzburg Mozarteum, a
prestigious summer music festival. Four MSC faculty members taught at the

1932 Salzburg Festival, along with Bruno Walter, Josef Lhevinne, and Herbert

von Karajan, to name the most famous. From MSC went Louis Richards,

Michael Press, Alexander Schuster, cellist, and Alexander Kisselburgh, voice.

This was a very prestigious group of teachers. However, an executive of the

festival used funds deposited by the American delegation to pay his personal

debts, which resulted in cancellation of the festival after the first season.

Mr. Coleman’s daughter, Sue Johnson, told of her father taking the

remaining money to deposit in Switzerland so that nothing more would happen

to it.‘ Mrs. Johnson has also donated her father’s collection of memorabilia from
the trip to the School of Music. Of particular interest is the brochure for The
Salzburg Orchestral Academy. The cost of the course was $360, which included
r Ound trip steamship fare (tourist class) from New York, railroad transportation in
Eur ape, board and lodging for eight full weeks in Salzburg, practice piano,
adrnis‘oe‘oions to student recitals and two tickets per week to the Salzburg Music
Festival. Private lessons and extra courses required an additional fee. Among

the St“dents on the trip were Josephine Kackley and Fred Killeen.

 

N
g’ggervlew with Sue Johnson. Douglas Johnson. a son of Mr. and Mrs. Richard Johnson,
in uated from the MSU School of Music in 1985 and is currently a professional jazz piano player
Boston
41

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42

 

When Richards returned home, he found that he was being attacked
about funding irregularities of the Institute. Five citizens of lngham County asked
that a grand jury investigate charges regarding a number of financial
transactions of MSC, including some leveled at the Institute. Charges were that
the Institute used campus buildings, received fees from the college for student

lessons, and profited in other ways (Kuhn,1955, p. 341). Expenditures for music
had increased from $12,000 a year to almost $48,000 since the Institute began.
The enrollment had averaged 616 students a year. Judge Leland Carr of
lngham County, who was a one-man grand jury for the affair, found no violation
of statutes. However, the Department of Music separated itself from the Institute
after the 1932-33 season, and was completely reorganized during the 1933-34
school year (Paul, 1979, p.123). According to Kuhn (1955), the reorganization
did not result in loss of any funds. Music remained in fifth place in all

departments. Only chemistry, home economics, English, and men’s physical

education had larger budgets.
W
In the fall of 1933 Fred Patton became director of the MSC Chorus and

Men’s Glee Club. Patton was especially successful with Men’s Glee Club. By
1938 he presented a Minstrel Show in the new Band Shell in conjunction with
the new Sinfonia men’s music fraternity. The Band Shell was located across
from the College Auditorium, but was razed for the construction of Bessey Hall.
smile of the faculty were appalled at the idea of a Minstrel Show, thinking that
Men’s Glee should stick to their traditional concerts. Secretary John H. Hannah
felt that those faculty were worried that the show would make fun of them. 5

The V‘l'Ol'nen’s Glee Club, formally established by Louise Freyhofer in 1902, and

5
shTogvdaY’s reader might think that the faculty was appalled at the racial stereotyping of the minstrel
' but unfortunately that was not a concern at that time. Faculty were only worried about their

 

43

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conducted by her until 1919, suffered a peculiar fate under Professor J. S.
Taylor. Since he used both the Men’s and Women’s Glee Clubs as the nucleus
of the mixed chorus, the Women’s Glee lost its autonomy in the 1920’s. From
1922 to the spring of 1928 there is no record of the Women’s Glee Club. In

1928, Betty Humphrey, assistant to Louis Graveure, reorganized the women.

The State News, November 23, 1928, stated:
Great interest has been displayed in the development of a Girls’

Glee Club on the campus since its formation here a few weeks
ago. Upon completion of the tryouts Tuesday night, 68 girls had
been accepted. Membership is still open to seven or eight more

girls as it is the club’s ambition to exceed the University of

 

Michigan, which now totals 70 (Paul, p. 140).“

In the spring of 1929, the first May Morning Sing was instituted and held
at Beaumont Tower. Lewis Richards modeled this after a similar one at the
tower of Oxford University in England. At MSC the ceremony also involved the
tapping of Mortar Board and Tower Guard members. Mortar Board was the
senior women’s Honorary Society, and Tower Guard was the honorary society
for sophomore women.

I n 1930 Zinovy Kogan, instructor in violin and conducting, became
director of the Women’s Glee Club. In June 1932, all the college choruses plus
faculty members and singers from the community presented Haydn’s Creation
to commemorate the 200th anniversary of Haydn’s birth and the 75th
annive rsary of the college. One of the pianists for this performance was a

Student, Wendell Westcott, who later became carilloneur for MSC as well as a
facu'ty member in music. The next spring all the choruses presented the opera

O’PheUs, by Gluck, at the Lansing Eastern High School Auditorium. Music,

8
The CUrrem rivalry between University of Michigan and Michigan State has a long history.
44

 

 

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Speech and Dramatics, English, Art, Physical Education and Home Economics
collaborated for this event. Orpheus was also presented in Detroit . In the
following year, 1933, Josephine Kackley, head of the Public School Music
Department, became director of Women’s Glee Club.

William Kimmel organized a noccredit a cappella choir during the winter
quarter of 1936, consisting of students, faculty and community members
interested in the historical aspects of choral music (Paul, p.148). The choir
became quite popular both on campus and around the state. Kimmel became
director of the Chorus and Men’s Glee Club in the winter of 1939. His first
performance was at the May Morning Sing.

Mendelssohn’s Elijah was the next all-department large production in
the spring of 1937, directed by Patton. In December of 1937 Michigan State’s
first production of Handel’s Messiah was given in the college gymnasium, also
directed by Patton. Due to ill health, Patton gave up his choral work, which was
taken over by William Kimmel, instructor in theory and director of the a cappella
choir. Patton stayed on as voice teacher and also led community sings. Patton
said his greatest thrill was getting 15,000 farmers to sing old favorites like
America and Down By the Old Mill Stream during Farmers’ Week (Paul, p.148).
Farmers’ Week was the occasion for many musical performances over the
years. It would be interesting to know how these were received by the farmers,
or if they were used as a captive audience.

92W

In the fall of 1936, Lewis Richards announced a “Collegium Musicum”
series, directed by Leonard Ellinwood, which was the second of these programs
in the United States (Paul, p. 156). The intent was to reproduce old music as it

would have been performed at the time in its social context. Library exhibits of

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the manuscripts were coordinated with the programs, and discussions followed
the ten different presentations. The series continued into the 1940’s with at least
three programs per year. The featured speaker for a program in 1940 held in
the new Music Auditorium was Dom Anselm Hughes, Prior of Nashdom Abbey
in England, who was a world authority on early music.

mm

In 1928, Michael Press, an eminent Russian violinist and conductor,
joined the violin department. A number of his pupils followed him to Michigan
State, including lzler Solomon and Ralph Rose, who became aides. Michael
Press had escaped a firing squad during the Bolshevik Revolution (Paul,
p.163). The following year Zinovy Kogan, another exiled Russian violinist and
conductor, was appointed to assist him. In 1930 Josef and Rosina Lhevinne
came to Michigan State for a concert, thus uniting four friends from Russia.
Because Press and Kogan were so famous, they could attract musicians of the
highest caliber to campus. Josef Lhevinne died in 1944, but Rosina kept
teaching at Juilliard School of Music until she retired at age 95 in 1977. Rosina
coached Van Clibum when he won the Tchaikowsky Piano Competition in
1955, and she later coached MSU’s Ralph Votapek.

In 1929 another Russian, Alexander Schuster, arrived to replace cello
instructor Philip Abbas. Schuster was already a famous concert artist in Europe.
The orchestra, directed by Farwell and Press, gave two performances that year:
one to introduce the new faculty and one for Baccalaureate. The next year the
orchestra presented a full program at the Lansing Eastern High School
auditorium, since there was no auditorium on campus. lzler Solomon was
concert master, Alexander Schuster played first cello, Zinovy Kogan played first

viola, and Leonard Falcone was leader of the second violins. It is ironic that

46

 

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John D. Stephens, head of Music Education at the Institute, had
organized the Lansing Symphony at this time, but could not conduct due to
illness. lzler Solomon became the conductor in March of 1932. MSU has
always had a close relationship with the Lansing Symphony. Throughout the
history of the School of Music, it has maintained close ties with the orchestra,
sharing personnel, and even at times combining to offer a position in each
organization in order to make a full-time job.

The college orchestra was part of a concert series for the next several
years. In 1936 all concerts were given at the Lansing Eastem High School
auditorium instead of the college gymnasium. Hans Lange, associate conductor
of the Chicago Symphony, joined the faculty in 1937. Michael Press was ill, so
Lange replaced him on a part-time basis. Lange taught violin and conducted
five rehearsals before each concert. The other rehearsals were conducted by
Keith Stein, clarinet professor, and Leonard Ellinwood, professor of theory.
Alexander Schuster became director of the orchestra the next year. Francis
Aranyi, a famous Hungarian violinist, commuted from Pittsburgh one day a
week to teach violin and sonata classes. Schuster’s three concerts in 1938, one
each term, each featured a soloist: 1) a Russian cellist; 2) Efrem Zimbalist,
violinist, and 3) Francis Aranyi. In the spring of 1940 the orchestra made its first
appearance in the new College Auditorium with Arthur Schnabel, pianist.

Raids—(1.22110)

Under Leonard Falcone the marching band remained part of the college
Reserve Officers Training Corps (ROTC) program and wore military khaki and
olive uniforms during the 1930’s and 1940’s. Besides playing for football

games, it also performed at ROTC weekly parades and drills. The band

47

 

 

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rehearsed in the Armory building, which stood where the present music building
now stands. The parade field was Landon field, now re-named in memory of
Walter Adams, next to the Music Building on the west. Falcone had to overcome
some bad attitudes from the players during his first year but was successful in
doing so. The band made 39 public appearances his first year, 1927, and in
1928 the band made its first recording.

Falcone’s major instrument was violin, but at Michigan State he became
instructor in the college’s first Band Instrument Course. During his first summer
he supervised violin sectionals at the National Music Camp at lnterloohen,
Michigan, and he played for two years in the University of Michigan Symphony
at Ann Arbor after joining the MSC faculty. Falcone also hired four members of
the Detroit Symphony to give lessons: Joseph Mosbach, bassoon; Marius
Fossenkemper, clarinet; Alberto Stagliano, french horn, and John Wummer,
flute. Falcone taught the rest of the instruments himself. He also helped sponsor
an appearance of John Philip Sousa and his band.

A. J. Clark had held outdoor concerts and Falcone re-introduced them.
The first was held between Beaumont Tower and the Forest of Arden, as the
front of the Museum (now Linton Hall) was called. In 1930 the band
accompanied the football team to Georgetown University in Washington DC,
and Lewis Richards arranged for the band to also play for President Herbert
Hoover and at the Tomb of the Unknown Soldier.

In 1931 the Music Department moved into Abbot Hall, which stood where
the present Music Practice Building now stands. The band moved rehearsals
from the floored-over pool area of the old Bath House adjoining the Armory to
the “new” building, Abbot Hall.

Keith Stein, former clarinetist with the Chicago Symphony, replaced

48

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Marius Fossenkemper in 1934, teaching woodwinds and public school music.
Because the Depression of 1928 had depleted both school enrollment and the
band, a series of band scholarships was instituted. From a beginning of ten
scholarships the first year, the number of scholarships increased until half the
band members were on scholarship within four years. Scholarships included
exemptions for out-of-state fees and the $30.00 per term music fees.

Dean Winter, an 88 year old trumpet player from Grand Rapids, came to
play in Alumni Band on April 7, 2001. He had started at MSC in 1934 with a
trumpet scholarship in the first year that band scholarships were awarded. He
played first chair trumpet for four years under Leonard Falcone in band and also
in the symphony with Michael Press. He studied trumpet with Falcone for four
years and taught class trumpet to Public School Music majors for his last three
years. Winter said that he loved Leonard Falcone and Michael Press, who
showed him personal manuscripts that Tchaikowsky had given to him.

The concerts in the Forest of Arden were very popular, but pressure was
applied to build a permanent band shell. The class of 1937 gave $2,500, their
class gift, toward the shell and the State Board of Agriculture appropriated the
remaining $22,500. Falcone took a leave in January 1938 and Keith Stein took
over the band, but Falcone returned for the band shell dedication. Falcone was
very upset when the shell was razed for Bessey Hall in 1960. He was promised

that a new one would be built, but this has not happened.

49

 

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Figure 8. 1940 Wolverine, MSC’s yearbook. Graduation ceremonies at the
Band Shell.
Th r 1 27-4

Arthur Fanivell took charge of music theory in 1927 and added music
appreciation and history of music courses. His compositions were being
performed all over the United States at the time. William Kimmel joined the
faculty in 1935, and Leonard Ellinwood arrived in 1936. Ellinwood was one of
only sixteen persons in the United States to have a Doctor of Philosophy (PhD)
in music at that time. Ellinwood started the Collegium Musicum series. In 1938,
Gomer Ll. Jones, a famous Welsh composer, was hired, and one year later J.
Murray Barbour, the first person in the United States to receive a Ph.D. in
Musicology, was added. H. Owen Reed was hired to replace Arthur Farwell in
1939.

50

 

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The First Presbyterian Church of Flint donated a King organ to the music
department in 1928. The organ was too large and was never installed. Francis
MacKay was appointed head of the organ department in 1928. He and Helen
Sholl, organist at Peoples Church, gave private lessons on the Casavant organ
at the church. M. L. Renwich replaced MacKay in 1930 and also taught
harmony. Helen Sholl (1934-1953)7 continued to give lessons for many years.

W

Beaumont Tower, a gift of John and Alice Beaumont, was built on the site
of Old College Hall, the first campus building. It was designed by Donaldson
and Meier, architects of Detroit, and built by the F. C. Trier Company of
Saginaw. It was dedicated June 22, 1929. (Paul, p.183.) The gift included a
chime of 10 bells. When it was found that there weren’t enough notes to play the
Alma Mater, “Close Beside the Winding Cedar,” three more bells were added
the next year. In 1935 ten more bells were added, making the set of bells a
carillon, 23 bells being the minimum number for a carillon. Jake Daubert of the
Physical Education Department played the chimes for the 1929 graduation. The
next year he was appointed to play the chimes and be in charge of the bells
without pay. The carillon remained under the supervision of the Secretary of the
College until 1941, when it became part of the music department.

sl 1 -

Although music was part of the activities of MAC from 1870 on and was
part of the curriculum of the women’s program from 1898 until 1918, music
education was not introduced as a degree program until 1927, when Lewis
Richards became department head. Richards, an internationally known

harpsichordist and pianist, was born in St. Johns, Michigan. As a performer,

7 Dates in parentheses are dates of employment.
51

 

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Richards could have limited his interest to performance and established a
conservatory. Instead, music education was part of his vision from the
beginning, and he appointed Hope Halliday (1927-1929) to teach the first
courses in music education. Richards also arranged for music education
students to work with the Lansing school system, which would serve as a
laboratory for practice teaching for at least the next 30 years.

In his report-to President Shaw in the spring of 1929, Lewis Richards
described events leading to a new project:

In May we were visited by Dr. Zanzig, of Harvard University, who,

at the request of Harvard, was making a coast to coast tour visiting

the music departments of the important universities and colleges.

As a direct result of his visit, the National Playground Recreation

Foundation of New York City, through the Michigan Department of

Education, presented to the college, free of all cost, the services of

Miss Josephine Kackley for extension work in rural districts. The

State Board cordially accepted Miss Kackley’s services, which

have had far-reaching effects through the rural districts, and

definite plans are now undenNay for the continuing of this work as

a new branch of the work of the Music Department next year

(Paul, pp. 205-6).

Josephine Kackley (1929-43) studied under Frank A. Beach, a pioneer in
music education. Her special interest was rural music education. Kackley
worked in villages of less than 2,500 population in six Michigan counties:
Calhoun, Clinton, Eaton, Genesee, Livingston, and Saginaw. These counties
were adjacent to or reasonably near lngham County, seat of the college. In

each county, she taught teachers, gave them songs to teach, and climaxed the

52

 

season with a music festival in each county. The program was so successful
that the State Board of Agriculture, the governing body of MSC at that time,
decided to continue it in 1930, financed through the music department. The
State Board also added Kalamazoo and Lapeer counties to the program. In
1930 two new teachers were hired, one for public school music, as music
education was then called, and one for the extension program. The following
year a third extension specialist joined the program. Michigan State hosted its
first combined county music festival on May 22, 1931 in Demonstration Hall on
campus (Paul,1979, p. 209).

The music extension program was financed with funds allocated to the
music department from 1930 to 1941. At that time financing was transferred to
the Cooperative Extension Department. Since music was not federally
mandated, the State of Michigan financed the venture (Miles, 1964, p. 89).

The first music teachers were hired for nine months for $2500 and with a travel
budget of 5 cents a mile. My mother started teaching in Hamtramck, Michigan in
1928 for $1800. I began teaching in Pontiac in 1954 for $3700. However, when
I went to Boston University to summer school in 1955, I discovered that my
roommates, who were Massachusetts music teachers, were making $2400,
$2500, and $2700 a year. I thought $2500 a year for an extension person
sounded way too high, remembering that this was during the Depression, which
started in 1929. The early records are stored on the top floor of the
Administration Building and are not accessible to the general public. Margaret
Dionese”, who works in the Records Department, received permission to
photocopy the page from the MSC records, which proved that Mabel Olive Miles
was absolutely correct. A copy of this document will be found in Appendix C,

along with a map of Michigan, showing the counties and dates where the

 

' Margaret Dionese is the daughter of Weldon Hart, head of the music department in 1958.
53

extension teachers worked. Although radio station WKAR was established in
1924, rural areas had not been electrified at that time. By 1938 enough rural
areas had electricity so that WKAR began broadcasting a “Rural School Music
Series.” The next year a printed schedule of 22 thirty-minute broadcasts
appeared, followed by nine programs presented by children, each program
from a different county. WKAR’s involvement in the extension program
continued throughout the life of the program.

The success of the extension program stimulated interest in music
education at the college. In the summer of 1929, the first degree ever awarded
in music at MSC was presented to Herbert Fletcher in public school music.
Josephine Kackley was responsible for both the Rural Extension Program and
the on-campus music education curriculum. Five public school music majors
graduated in 1930, six graduated in 1931, while ten graduated in 1932,
compared with three in performance and two in other areas. Until 1934, all
public school music majors received a Bachelor of Arts (BA) in music, but in
1934, ten received a BA while eight received the new Bachelor of Music (BM)
degree. By 1939 all public school music majors received a BM.

In 1938 a summer program for music teachers was instituted. Keith Stein
(1937-1975), former clarinetist with the Chicago Symphony, taught a seminar in
music education as well as woodwind and orchestral supervision. Josephine
Kackley taught teaching methods and conducting, and Leonard Ellinwood
(1936-39) gave courses in music theory and music history.

Lewis Richards brought a distinguished performance faculty to MSC,
including Leonard Falcone, director of bands from 1927-1967; Arthur Farwell
(1927-1939), noted composer, critic, editor, and proponent of community music;

Keith Stein (1937-75), clarinet; and Alexander Schuster (1929-1953), cellist

54

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and orchestra director. One of the major benefits for music education majors
was the chance to take lessons from real artists.
W

The first graduate courses in music were listed in the Graduate School
Catalog of 1938-40. Again Lewis Richards showed his interest in music
education, since the degree of Master of Music was offered in performance,
composition, some fields of musicology, and music education. All candidates
had to offer a thesis, composition, or recital, and all had to take oral
examinations. All master’s degrees required four quarters’ work to achieve forty
eight credits, with thirty two credits earned in residence. One quarter-time
graduate assistantship, equaling ten hours work per week, was available. A
survey of course catalogs from 1938 on shows a steady growth in course
offerings, both in theory and history and also in music education.

WW9

Richards also planned for a music building, since music classes had
been scattered into several buildings, but this was not built until 1939. The
Public Works Administration (PWA) had given grants to the school for
dormitories, hospital, gymnasium, fieldhouse, auditorium, livestock pavilion, and
veterinary science clinic.

The PWA approved a $90,000 grant for the music building, which was to
cost $200,000. The rest of the money was to be raised with self-liquidating
bonds, a brainstorm of then Secretary of MSC John Hannah. Income from the
music program was used to retire the bond. The music building was Michigan
State’s first building designed to serve the liberal arts and was dedicated
December 3, 1939. Richards received telegrams of congratulation from Herbert

Hoover, Arthur Schnabel, Sergei Rachmaninoff, Fritz Kreisler and Sol Hurok,

55

among others (Paul , p. 216). On February 15, 1940, Lewis Richards was
elected a member of the American Musicological Society. Ten days later he
died of a heart attack.

’ n rt 1 n

Considering that Lewis Richards was himself an internationally known
performer on harpsichord and piano, acquainted with the great performers of
his day world-wide, and determined to offer students an experience comparable
to the conservatory experience, it is fascinating that he also devoted attention to
music teacher training and the development of the Rural Extension Program.
The first music degrees were in public school music, as music education was
called at the time. In a period of eleven years, Richards had helped Josephine
Kackley establish a comprehensive undergraduate program in music
education, develop an effective Rural Music Extension program, and launch a
radio series for school children with WKAR. He also hired an outstanding
faculty, many of whom were world famous, took a number of students to study in
Vienna one summer, started a small graduate program, and brought
outstanding musical events to the campus. The fact that Lewis Richards moved
among the famous musicians of his time, like Bruno Walter and Herbert von
Karajan, allowed him to bring great musicians, like Arthur Farwell and Michael
Press, to campus to teach. Course enrollment in music and the number of
concerts and recitals skyrocketed during his tenure.

A picture of Lewis Richards with his obituary can be found in the 1940
Michigan State College yearbook, the Wolverine. Since the print is too small,
the text is rewritten here.

Michigan State College, in common with the entire music world,

suffered a great loss at the death of Lewis L. Richards .

56

Mr. Richards, an internationally known artist of the harpsichord
and piano, joined the college faculty in 1927. Under his direction
the music department developed from a minor factor of college
activity to one that attained national attention in music circles.
The climax of his executive ability came only a few weeks before

his death with the dedication of the new music building.

Mr. Richards was influential in bringing to the campus and
community world renowned artists and musical organizations;

in building up a staff of well equipped and qualified teacher-
musicians; in presenting music of worth and beauty within the
student body and directly inspiring students with a sincerity of
purpose, a true sense of value and a glimpse of the divine spark in
music. As a man and artist of the highest rank, Lewis Richards

unselfishly devoted his life to the service of music and mankind.

    

. ~' C
“In. ‘ 5‘.

P'nlmo- I "n: Imam.

Figure 9. Lewis Richards. 1940 yearbook, The Wolverine.

57

String QL

CHAPTER SIX
THE ROY UNDERWOOD YEARS (1940-1957)

Roy Underwood came to MSC as chairman of the music department in
1940 from Ward Belmont College, Nashville, Tennessee. He graduated from
Bethany College in Kansas and spent three years in graduate school at Juilliard
School of Music. He had taught piano in New York City and at the University of
Kansas. Underwood was not just interested in professional music training; he
also wanted to provide musical opportunities for all students. When he assumed
leadership, there were 15 staff members, with two full professors, Undenrvood
and Josephine Kackley, and five associate professors (Paul, 1979, p. 222).

In 1942 the Department of Music gave four Bachelor of Music degrees in
Applied Music, ten Bachelor of Music degrees in Public School Music, and
three Master of Music degrees. During Underwood’s years, public school music
students furnished about 80 per cent of the music department graduates.
Underwood was president of the Music Teachers National Association (MTNA)
from 1950-52, and vice-president of the National Association for Music Therapy
(NAMT) in 1950-51. In 1956-57 he became president of NAMT, although he
was not a music therapist. Music therapy as an academic discipline was just
being developed, primarily by Roy Underwood and E. Thayer Gaston.
Underwood began the first undergraduate music therapy program in a college
and was also a pioneer in piano pedagogy.

Roy Underwood was a multi-faceted man. Lyman Bodman spoke of him
as a visionary, and his music therapy program, piano pedagogy program,
attention to building string programs in Michigan, establishing helpful relations
with public school teachers, and establishing the faculty woodwind quintet and

string quartet certainly bears this out. (Personal interview). Byron Autry spoke of

58

 

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his piano playing, sight-reading ability, and overall musicianship. (Personal
interview.) Edgar Kirk noted that he was a top sergeant in World War I and that
this was reflected in his management style. (Personal interview.) Both Kirk and
Lauralee Campbell suggested that he may have been hired to “straighten out”
the music department, which had been a hotbed of “artistic temperaments”
under Richards. (Personal interviews.) Bea Mangino mentioned Underwood’s
attention to detail: knowing and scolding those who left rooms unlocked, the
lights on, or the windows open. (Personal interview.) In some ways he was
totally inflexible, as in the requirement that only pianists could major in music
therapy, and in his abhorrence of jazz. Yet his correspondence with Gl’s during
World War II, available in University Archives, shows a very compassionate
side. Virginia Bodman, as a graduate student in 1945, heard Underwood moan
about the lack of teachers for the returning veterans. He was about to interview
pianist Howard Silberer and remarked facetiously, “If he can play a C scale, I’ll
hire him!” And he did. (Personal interview.)

Roy Underwood’s annual reports from 1946-1956 were discovered in the
basement of the Music Building, and have been given to University Archives for
preservation with the permission of James Forger, current director of the School
of Music. In his 1946 report Underwood stressed lack of space and staff. “At
present we are unable to furnish instruction for Physical Education and
Recreation majors due to lack of facilities and staff.” He mentioned the need for
a pipe organ and more listening facilities, as well as describing the success of
the Summer Youth Music program, the summer graduate programs, and
“Adventures in Music,” the Cooperative Rural Extension’s weekly music
broadcast to schools. He also mentioned all the concerts and outreach

programs provided by the department.

59

The first rr

In 1947 Underwood cited unprecedented enrollment. The number of
graduate students was double that of any previous year. More practice facilities
were provided in a quonset hut on South Campus, but additional space for
classrooms was needed. “When one stops to recall that the present building
was designed for the use of 15 staff members and 100 music majors one
understands why it can not adequately care for 300 majors and more than 30
staff members” (1947 Annual Report). Music organizations had improved in
quality according to Underwood: notably the Concert and Marching Bands,
College Chorus, both the Men’s and Women’s Glee Clubs, and the 85
additional musicians who played in Varsity Band, (a new band primarily for girls
and non-majors). A Mozart Festival was also presented.

The 1948 school year opened with 50 piano students and 20 voice
students temporarily without teachers. Part-time teachers were found for them.
Underwood mentioned the establishment of the faculty string quartet and the
faculty woodwind quintet, as well as a Beethoven festival. The same lacks of
studio space, library facilities, and office space were noted as well as the need
for more office staff. “The office staff is the same for 300 music majors as it was
when we had 125. A department head should not have to devote his time and
energy to simple clerical duties that could be handled by a clerk-stenographer.
Lastly, the college needs a pipe organ as much as it ever did!” (1948 Annual
Report). It would take 20 more years for that to happen. _

The next year UndenNood requested an addition to the music building,
saying that President Hannah said there were sufficient funds available from
music fees to finance an addition. (It would take six years for that to happen.)
The first mention was made of the need for a psychologist in music to supervise

research in Music Therapy and to teach courses in the Psychology of Music to

60

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graduate students.

In 1950-1951 Underwood remarked that the department was achieving
“somewhat” of a national reputation, resulting in an increase in graduate
students. The South Campus practice building was pronounced unsatisfactory,
because heat from the radiators in winter and dampness in summer was ruining
the pianos. Evidently nothing could be done to modify the quonset huts to
correct this.

In 1951-52 curricular changes were noted, with 55 courses consolidated
into 16, and the number of credits reduced from 70 to 53. Underwood continued
to point out the number of concerts and outreach activities and to stress the
need for a pipe organ and an addition to the building.

In the 1952-53 report, the need for more space and staff was again
addressed, and so was a better promotion policy, particularly at the rank of
instructor. He said it took too long to be promoted, and this was affecting morale.
This report was much more complete, including which members of the faculty
were working on which degrees, who belonged to what professional and
Ieamed societies, and what conferences were attended. Five faculty members
held national offices, eight were on national committees, and nine were on
regional boards. The Doctor of Philosophy degree in Music Education and
Composition was established. Staffing and space needs, especially for service
courses (music for elementary education, physical education and recreation
majors), were stressed. Charles Hoffer, former President of the Music Educators
National Conference, received the first PhD from the music department in 1955.
He said that PhD’s in music were not differentiated then. His degree says he
earned a PhD in music, not music education. (Personal interview.)

The 1953-54 report began with the publicity garnered for the music

61

 

 

department by the marching band’s appearance at the Rose Bowl with the
football team. The band was sponsored by Oldsmobile. (Eventually private
sponsorship was outlawed by the NCAA.) The a cappella choir sang to 3,200
people during its Spring Tour and the Men’s Glee Club to 31,300 on its Spring
Tour, both in Michigan under the auspices of the Cap and Gown Series.
Undenlvood asked for a church music curriculum and a trained music therapist,
as well as another piano instructor and a psychologist for music therapy.

The next year the addition to the music building was authorized. Michigan State
became a university, instead of a college, and celebrated its centennial. H.
Owen Reed composed a centennial opera, Michigan Dream, which was a
collaboration of many different departments - art, music, dance, English, and
speech.

UndenNood started a “Little Symphony" composed of staff members, and
Louis Potter, the new orchestra director succeeding Alexander Schuster,
formed a high school youth orchestra. Again the report was very complete, and
again the need for an organ was mentioned.

In 1955-56 stress was put on the outreach programs, always mentioned
in the reports. Underwood stated, “One important function of a music
department is its contribution to the cultural life of the community and state”
(1956 Annual Report). He lists the Michigan High School Vocal Festival, the
state High School Band and Orchestra Festival, a Church Music Workshop,
Marching Band Workshop, and a regional meeting of the College Band
Directors Association, which were held on campus. The Spartan Bell-Ringers,
directed by university carilloneur Wendell Westcott, appeared on the Ed
Sullivan Show and at the White House Christmas Tree Lighting Ceremony.

Need for a pipe organ was listed in long range planning, and the need for a

62

 

 

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church music curriculum appeared in short range planning. In June there were
six full professors, seven associate professors, twelve assistant professors,
twelve instructors, and three agricultural extension agents. A complete listing of
faculty accomplishments was presented.

The annual report of 1956-57 also focused on outreach. Twelve

organizations made 187 public appearances, and the faculty participated in 653

 

events. Enrollment in service courses (music for elementary education, physical
education and recreation majors) totaled 787, and students from other majors
electing music courses totaled 1306. The need for scholarships to encourage
string players, a church music curriculum, and an opera workshop were
stressed. Finally a qualified music therapist, Robert Unkefer, was hired. .
W ,

Wendell Westcott succeeded Jake Daubert as carilloneur in 1941.

 

Westcott had come to MSC to study with Lewis Richards and was appointed to
the piano faculty in 1935. He studied the carillon in Belgium and played the
MSU carillon for many years. He continued until retirement in 1985 and was still
playing concerts when this was written in 2001. Westcott also helped organize

the National Guild of English Handbell Ringers and organized and directed the

 

Spartan Bell Ringers in 1954. In subsequent years the Spartan Bell Ringers
performed on national TV and radio, at New York’s Town Hall and at a White
House Christmas tree lighting ceremony. Westcott led the Spartan Bell Ringers
for twelve years.
r n n I
In 1940 the faculty had only two string teachers, Alexander Schuster,
cellist, who also directed the orchestra, and Francis Aranyi, violinist, who came

from Pittsburgh to teach two days a week. In 1941 the string department

63

 

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received a gift of ten violins made from a maple log from Howell, Michigan by
Albert Allen Morgan, an artist whose hobby was violin making. According to
faculty member Judy Palac, the school still has some of these in 2003.

Romeo Tata came to MSC in 1941 as a violin teacher and as conductor
of the Lansing Civic Symphony. Tata had two diplomas from the American
Conservatory at Fountainbleu and a BM and MM from Yale. He had previously
taught violin and theory at Arizona State University from 1937-41, and had
conducted the Phoenix Symphony. Virginia Prunty was a graduate assistant in
piano and string bass from 1944 to 1946, and was promoted to the faculty to
teach string bass and piano in 1946, followed in 1947 by Lyman Bodman, who
taught violin and viola. Prunty had studied at the Juilliard School of Music,
graduated from Queens College with a BM, and from MSC with a MM. Lyman
Bodman received his BM from Oberlin Conservatory and MM from the Eastman
School of Music. Virginia Prunty and Lyman Bodman soon married. Both played
for years in the Lansing Symphony. James Niblock arrived in 1948 as a violin
instructor and concertmaster of the Lansing Symphony. Niblock received his BA
and BEd from Washington State University, MA from Colorado College, and
PhD from the University of Iowa.

Alexander Schuster, director of the orchestra, opened the 1940-41
season with a concert featuring the world famous cellist Gregor Piatigorsky, who
was an old friend. This would not have been possible without faculty playing
along with the students. Often Schuster himself would perform on cello, with .
Roy Underwood conducting the orchestra. Schuster told Wilson Paul, “I played
everything my colleagues composed - [Gomer] Jones, [Arthur] Farwell and [H.
Owen] Reed - to encourage them to create new music” (Paul, 1979, p. 267). By

1950 the orchestra had over 60 members. During Underwood’s tenure, ten

64

 

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scholarships covering college tuition were awarded to string players. Schuster
loved his students and they loved him. William David Brohn, 1955 MSU
graduate and successful New York arranger, established a scholarship in his
memory during the 1990s. After retirement from MSC, Schuster continued to
teach part-time at Western Michigan College and play in the Kalamazoo
Symphony.

Louis Potter, Jr. replaced Schuster as orchestra director and cello
teacher in 1953. Potter studied at the Peabody Conservatory of Music, Juilliard
School of Music, and the University of Illinois. Potter had played cello
profesionally and also taught cello, theory, and chamber music at the University
of Illinois. He also taught cello and played in the faculty string quartet at the
National Music Camp at lnterloohen, Michigan from 1946-1961. Potter achieved
national fame as a teacher. He also wrote The Art of Cello Playing, published by
Summy-Birchard in 1964. The Honors Concert was his idea.

WWW

Underwood encouraged the organization of a faculty string quartet. The

following chart shows the membership of the Faculty String Quartet and the

Beaumont String Quartet over the years.

Year Violin l Violin II
Viola Cello 1940 F. Aranyi E. Simons
J. Stulberg A. Schuster 1941 R. Tata J. Stulberg

N. Blinoff A. Schuster

Name changed to Beaumont String Quartet

1947 R. Tata G. Collins L. Bodman A.Schuster
1948 R. Tata J. Niblock L. Bodman A.Schuster
1953 R. Tata J. Niblock L. Bodman L. Potter

65

 

 

 

 

Figure 10. Beaumont String Quartet. From L to R: Alexander Schuster, cello:
Lyman Bodman, viola; Romeo Tata, first violin; James Niblock
second violin. Picture courtesy of Lyman Bodman.

According to Walter Verdehr, Dorothy DeLay, who was a student at MSC
in the nineteen forties, led a student string quartet. (Personal interview). DeLay,
who died in the spring of 2002, was a recipient of the Distinguished Alumni
Award and honorary Doctor of Fine Arts degree from MSU in 1991. She was a
nationally recognized violin coach and teacher at Juilliard School of Music in
New York City and the Aspen Summer Music Festival.

In 1995 Kenneth Bloomquist and Edgar Kirk considered updating the

66

 

 

history of the music department, and Bloomquist wrote to a number of faculty
members to ask them to write about their areas. Lyman Bodman responded,
and his writing is quoted with his permission in its entirety here.
‘AS I REMEMBER’ by Lyman Bodman, October, 1995
In 1947, while finishing my graduate work at Eastman School of
Music, I Ieamed of a vacancy in the music department of Michigan
State College. They wanted a violinist who could “build upper
strings,” and a violist for string quartet. Roy Underwood was
department chairman, and was very vocal in his expectations of
the applicant. “Can you teach any level of violin?” For my audition

I played a violin recital in the Music Auditorium, and then took the

 

viola to the studio of Alexander Schuster, where I played Debussy,
Mozart, and Beethoven. I had been told what quartets to prepare

- the other players had not, so what an advantage! I joined the
faculty that fall as teacher of violin and viola and violist of the

Michigan State College Faculty String Quartet.

I understood that there had been some quartet playing before that
time by faculty and students, but not a quartet who stayed and
played together for any length of time. That year Romeo Tata was
first violinist, a student named Gordon Collins was second, I was
violist, and Alexander Schuster was cellist. We played only a few
concerts. The next year, 1948, James Niblock joined the faculty as
teacher of theory and violinist in the quartet, and I consider that the

real beginning of the Beaumont String Quartet.

67

From 1948 to 1953, Tata, Niblock and Bodman had as our cellist
Alexander Schuster, a Russian concert artist who was one of the
very early artist-teachers of the first Michigan State College
Conservatory.” We knew him as “Sascha.” Sascha had been
trained by the greatest European teachers, was a graduate of

Berlin Hoch-Schule, close friend of the famous Feuerrnann,

 

Piatigorsky, and members of the Budapest String Quartet. He was

conductor of the orchestra and a musician of the highest order.

In 1953 Sascha retired and Louis Potter joined the quartet. The

following many years might well be considered the Beaumont’s

 

most productive as the quartet performed on campus, off campus, I?"
on television and radio. We traveled all over the state playing for a

variety of audiences. We gave at least three concerts in the Music

Auditorium each year featuring many first performances. We must

have given over 100 concerts and demonstrations in public

schools as part of the program to develop more interest in string

playing, and to recruit talent for the university.

Our department chairman, Roy Underwood, was a very
accomplished pianist, and in chamber music was especially fond
of Schubert’s “T rout Quintet.” With Virginia Bodman, string
bassist, and members of the Beaumont Quartet this work was
played all over the state of Michigan - in art museums, ASTA
conventions, and for just any occasion. It was always so well

received.
° The Michigan State Institute of Music.

 

68

 

An interview with Lyman and Virginia Bodman brought out many
interesting facts. Most important was their feeling about Roy Underwood as a
visionary. The music department of the Underwood years was on a mission to
encourage young musicians, especially string players, in the state of Michigan.
The faculty bonded through this shared mission and supported each other.
Bodman also taught class violin and viola for at least his first ten years, and part
of his pedagogical interest was to have the string class students play in a string
orchestra. He took a group of students to a convention in Chicago during this T
time, and people could not believe that these were string class students, they
played so well. Bodman still teaches fourteen students a week as of 2001, and

in 1995, wrote a book, Essays on Violin Playing. His thoughts on building the

 

string program, written for Kenneth Bloomquist, are quoted here in their entirety L
with his permission.
“STRING BUILDING AT MSU” by Lyman Bodman, 1995

I think there is a chapter in the hitory of the MSU School of Music

that is perhaps “unique,” and at least worth remembering. I am

thinking of that period of about 20 years from 1950 to 1970.

During that time there was an amazing and dramatic growth in

interest, numbers, and quality of string playing, and that obviously

was reflected in our orchestra and chamber music.

In 1947, l, the faculty viola teacher, was principal in the university
orchestra, and I had one student violist in the section. Virginia
Prunty had been strengthening the bass section during her
graduate work, and continued to play in the orchestra after she

joined the faculty. Faculty string players were most necessary in

69

the last rehearsals and for the concerts. The conductor, Alexander
Schuster, courageously programmed Beethoven Symphonies, but

the string choir was obviously too small.

Louis Potter, Virginia (Prunty) Bodman and l during those years
made, I think, our greatest contribution to the music department.
We also played many yearly recitals, were principals of the
Lansing Symphony, were most involved with the Beaumont String
Quartet, and made lots of radio and television appearances, but

that was not our most important work for the school.

During these years, with credit to department chairman Roy
Underwood, we had an outstanding Public School Music
curriculum and a large enrollment in that field. Because
Underwood wanted more string teachers in the state our students
were required to take one year of class violin, one year of cello, a
term of string bass and one of viola. They were then required to
take a year of “Instrumental Ensemble” where they played their
minor stringed instruments and studied elementary orchestral

conducfing.

In many universities class instruments are relegated to graduate
assistants who often lack teaching know-how and experience. As
faculty members we certainly took the job very seriously, with
some oft-times exciting results. After a term of string bass some

continued to study privately and even became very fine bass

70

 

majors. After a year of class violin followed by some private study,
we found a number of these students in the orchestra. I think of
Duane Smith, a clarinetist who became a viola major and made

the Lansing Symphony.

But most important, our graduates of that period became some of
our best school orchestral conductors and were an enormous
influence in string playing in Michigan. There were many whose

major was a wind instrument who became orchestral conductors.

We had another very important asset to our growth, and that was
“Youth Music.” For three weeks the faculty taught a large number
of mostly Michigan high school students each summer, and many
of them became our music majors. It was a great opportunity for
the faculty to meet young talent, show their pedagogy, and

“recruit.” In those years that was a most important word.

Our own outside private teaching was also most important to string
building. We were actually encouraged to take a private class and
hopefully keep them as majors at the university. The three of us
were forever judging the Michigan School Band and Orchestra
Association (MSBOA) festivals and sending our own students to
competitions. By 1970 the orchestra string choir had doubled in
size and was obviously much more advanced technically. We felt
that we had taken a most important step in becoming a reputable

School of Music.

71

 

 

W
Michigan State had no adequate on-campus facilities for staging an
opera until the Auditorium and Music Building were built in 1939. However
Carmen was staged by a Chicago opera company in the football stadium in
1940. A few opera scenes and short operas like Menotti’s The Old Maid and the
Thief were presented in the late nineteen forties and throughout the fifties and
sixties. Major opera productions were brought to the college by Dean Stanley
Crowe and Wilson Paul of the Lecture-Concert Series during the fifties and
sixties as well.
W
By 1940 Leonard Falcone had a fine concert band as well as a fine

marching band, even though there were only two full-time wind instructors,
Falcone and Keith Stein. When Falcone took a leave of absence in the fall of
1941, Roy Undenrvood hired Dale Harris, director of the Pontiac High School
Band, to take his place. Dale Harris said,

Dr. Roy Underwood, Chairman of the Music Department,

invited me to join the faculty for one year (1941-42), substituting for

Leonard Falcone, Director of Bands, who was going on a

sabbatical leave. I also supervised the instrumental music

program in Pontiac on a part-time basis. If I had known what was

coming, I would have had second thoughts about accepting the

Michigan State offer. That was the year of Pearl Harbor and the

draft. On December 7, 1941, l was in my office at Pontiac High

School doing some work for the instrumental music department.

When I got home, Enid told me about the Japanese attack on Pearl

Harbor. The next day, Monday, when I returned to Michigan

72

 

 

State, some of the band members who previously were talking
about going to Canada to avoid the draft, were practically
elbowing each other out of the way to enlist. The bombing of Pearl

Harbor had changed everything.

During the first semester there was the unrest of the draft and
during the second semester it was a question of what the band
personnel would be from week to week. Some of the band
members knew they were about to be drafted and elected to enlist
in the branch of service of their choice. I think it was the most
difficult year that I had in teaching. Another year would have been
enjoyable, but even though it was difficult, it was a fine experience
and it increased the high regard and respect which I had for
Leonard Falcone and Roy Underwood” (Wallace, 1990, p.20).
The entrance of the United States into World War II on December 7,
1941, changed many things. Falcone enlisted in the US. Army Air Corps during
that school year. The next year, Edward D. Cooley of Williamston directed the
Marching Band and Roy Underwood directed the Concert Band. Undenivood
also started a Varsity Band in the spring of 1942, directed by Arthur Best.
Underwood said it was formed to accommodate the “least gifted students and
women of the institution” (Paul, 1979, p. 288). This band played for basketball
and baseball games and gave an occasional concert.
Many soldiers and sailors were stationed on campus for training. H.
Owen Reed and J. Murray Barbour were borrowed from the music department
to teach science and mathematics respectively to the Gls stationed on campus.

Their qualifications were that each had taken a course in Acoustics. (Personal

73

 

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interview with H. Owen Reed.)

The Air Corps Cadets also had a student-led band, whose members
were allowed to use instruments and facilities. This group damaged and lost
many instruments, so Underwood requested Falcone’s release from the service
“to work in essential employment” (Paul, 1979, p.289). When he returned in the
fall of 1943, Falcone found only one band and it had girls. After auditions he
had a band of twenty two men and twenty two women and was delighted to find
that the women were a fine source of talent (Paul, 1979, p. 290). Until that time
the MSC bands had not been open to women. Since the marching band still
served as the ROTC band, women were still barred from it, but the concert band
continued to have both men and women.

After a two-year fundraising drive by students, faculty, and alumni, the
Marching Band received its first non-military uniforms. The green and white
uniforms were accented by a white cross-strap, white hat with green and white
plume, and were worn for the next twelve years. When the uniforms arrived,
Leonard Falcone called Maury Pelton, who lived in Lansing, to come down to
model the uniform for a picture. (Personal Interview). Pelton is wearing the
overcoat, which is needed when it is terrifically cold outside, as it often is for

MSU football games.

74

 

 

 

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Figure 11. Maury Pelton, modeling first non-military band unifon'n,1952.

Picture courtesy of Maurice and Dorothy Pelton.

75

 

 

Figure 12. Marching band in first non-military band uniform. This picture
appeared as the cover of The Record, the Spartan Alumni
Magazine, November 20, 1952.

When the servicemen returned from the war, more staff was needed.
Douglas Campbell, french horn, and James Donovan Jackson, trumpet, were
hired in 1946. Jackson also conducted the Varsity Band, which had been
reinstated. Campbell received his BM from North Texas State University, and
his masters and doctorate from the Eastman School of Music. Campbell also
taught theory and was at MSU for 42 years.

Byron Autrey came to MSU in 1953 from the University of West Texas to

76

 

RAF N

teach trumpet. Autrey mentioned Roy Underwood accompanying his audition
and what a fine musician Undenlvood was. Since a number of the music
department faculty had come from Eastman, Autrey felt that Underwood was
glad he was from somewhere else. (Personal interview). Autrey played for many
years with Leonard B. Smith’s Detroit Concert Band, has played on 44
commercial recordings and currently redesigns brass instruments. Autrey taught
until 1990.

Edgar Kirk, bassoon, and Russell Friedewald, flute, joined the
department in 1948. Campbell, Kirk, and Friedewald were all graduates of the
Eastman School of Music.

W

Harp instruction was initiated in 1927 but was suspended in 1931. In
1939 Lewis Richards reinstated harp, taught by Grace Fields of Flint, who
continued until 1947, when she was replaced by Velma Froude of Detroit.
Froude taught at Cass Technical High School in Detroit and drove to East
Lansing after school on Friday, teaching Friday night and Saturday. According
to Lauralee Campbell, when Froude’s mother was attacked in Detroit, Froude
felt she could no longer commute to East Lansing, so Michigan State bussed
her students down to her. After Froude retired, Mary MacNair, who had taken
Froude’s place at Cass Tech, also took her place at MSU.

In the earlier days of the music department, there were not enough
students in some areas to create a full-time teaching position. Therefore
arrangements were made for professors to have two jobs, as did Niblock with
the school and the Lansing Symphony, or Richard Klausli, with the school and
Plymouth Congregational Church. Another alternative was the one chosen by

Froude, to commute to MSC at her convenience. The third alternative was to

77

 

hr

and

and

teach in more than one area in the school, as Paul Harder, oboe and theory,
and Russell Friedewald, flute and theory, did. An aside to this is that two
professors also shared offices.

WW

When Roy Underwood was appointed head of the Music Department in
1940, he immediately began visiting public school vocal and instrumental
programs with other faculty members. His intention was to assist teachers,
administrators, and music students in every possible way. This brought
recognition and increased enrollment to the department. Just as the Rural
Extension Program in Lewis Richards’ time stimulated the growth of music
education, so Underwood’s outreach activities stimulated further growth.
Curiously, even though student population decreased dramatically during
World War II, the staff was not affected nearly as much, so course offerings
could be refined. In 1945 the music education master’s program offered two
plans, one with and one without thesis.

When William Sur (1943-69) came to Michigan State in 1943 to become
Chair of Music Education, the master’s program in music education was well in
place. Sur made the program accessible to working teachers by offering
courses in the summer. The expansion of course offerings after 1943 was also
his work. Sur earned his BS and MA degrees from Columbia University and his
PhD from the University of Wisconsin.

Sur was senior editor of the Allyn and Bacon K-8 music series, This Is
Music. Charles Hoffer, president of the Music Educators National Conference
(MENC) from 1988 to 1990, music education professor at Indiana University
and the University of Florida, and author of many music education textbooks

and articles, is probably Sur’s most famous pupil.

78

 

 

 

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Sur stated in a note to Wilson Paul : (Paul, 1979. p. 334)

Student teaching is one of the most important programs in any

teacher preparation organization. The student teaching program

in music at Michigan State was strengthened and completely

supported by Miss Pauline Austin, Mr. S. Earle Trudgeon, and Dr.

Alice Nelson of the Lansing Public Schools.
Sur also established a working relationship with the MSC Department of
Education, now the College of Education. Sur funneled students into music
education rather consistently, whether they wanted to teach or not, on the
grounds that only teachers would be able to support themselves with a career in
music. Perhaps this thinking was the result of living through the Great
Depression of 1929.’0

mm
In 1941, the Rural Extension program was transferred from the Music

Department to the Cooperative Extension Service. State funds financed the
program, since music was not federally mandated. As rural parts of the state
became electrified, around 1938, the college radio station WKAR broadcast
school music programs designed by the extension teachers, entitled “Rural
School Music Series.” The next year a printed schedule of 22 thirty-minute
broadcasts appeared, followed by nine programs presented by children, each
program from a different county. Mabel Olive Miles (1931-71) gives an in-depth
report and history in Rural Music Extension Program, 1927-1964 (1964). During
World War II (1941-1945), gasoline rationing severely curtailed the ability of the
extension teachers to travel to the various counties and for the students to come

to the campus. During this time, the programs broadcast over WKAR became

 

fir. Sur would not let me major in Instrumental music in 1950, saying “A woman would look silly
with a marching band.” He did, however, let me do a double major in instrumental and vocal music.

79

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very important, since they kept the extension program going.

After the war, the trend was to consolidate the rural schools into larger
cooperative school districts. Consolidation resulted in pooling the financial
resources of several communities, and the larger schools were able to hire their
own music teachers. The focus of the Extension Program changed to
workshops for teachers rather than interaction with children, though school
children attended the weekly broadcast on WKAR of “Adventures in Music” for
many more years. “Adventures in Music” took place on the stage of the Music
Building Auditorium, with children filling the seats to watch the live broadcast. In
the 1947-48 season, “Adventures in Music” reached 50,000 children on the air,
and 8000 visited the studios to watch the program in person. Scripts for this
program were written by Doris Paul, wife of Wilson Paul, and are available in
University Archives. The program was discontinued in 1964 and the remaining
two staff members were transferred to teach music education classes. WKAR’s
involvement with the extension program continued throughout the life of the
program.

The program had been established to give rural children the same kinds
of musical opportunities that city children had, but the consolidation of rural
schools into larger units had virtually eliminated the need for the program. Over
the thirty four years of its existence, it established a tradition in rural and non-
urban schools that music was a regular school subject and belonged in the
curriculum and daily class schedule. Its overwhelming success had rendered it
obsolete.

W
The Youth Music Program was established in 1944 by Sur for high

school musicians. Students came to campus for three weeks in the summer to

80

 

 

 

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participate in band, orchestra, chorus, and small ensembles, and to receive
instruction in theory, music literature, and their instrument. Courses were taught
by faculty members, selected public school music teachers, and graduate
students. Two to three hundred students came, and many of their teachers
enrolled in graduate courses in music and music education. Over the years this
program was led by William Sur, Robert Sidnell, David Catron, Dale Bartlett,
and Robert Erbes.

Summer also became a time for teachers to enroll in the Master of Music
program in Music Education or simply enhance their knowledge and skills.
Three-week seminars coinciding with the Youth Music School as well as a six-
week program were offered. This focus on teacher training in the summer
continues to this day. However, there has been great variety over the years in

the number and scope of offerings.

 

Group Practice Period

Figure 13. Picture of students at Summer Youth Music Program with Leonard

Falcone in 1948. Picture courtesy of Dorothy Pelton.

81

 

 

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Voice Band
Piano Theory Review (Grad. Students)
Cello Music Foundations (Elem. Ed.)
Violin Elem. School Music (Elem. Ed.)
Oboe “School Music Curriculum (including tests and
Class Instruments measurements)
Flute “The Anthem and Special Service Music
Clarinet “Materials of Music
French Horn “Class Piano Methods
Pipe Organ “Literature of Music
Chorus

“F or Graduate Credit

 

Graduate Courses
Research Methods and Materials Applied Music
Research in Music Education Chamber Music
Music Supervision and Counseling Thesis in Composition
Seminar in Music Education

Sec. 1, Elem. Education

See. 2, Secondary Education

Figure 14. Course offerings in teacher education in the summer from a 1952
. brochure.
Wilma
Martha White (1947-71) taught elementary music methods for both music
and non-music majors. She received her BM at Central College, Missouri, and
her MA at Ohio State University. She taught at the University of Missouri and
Milwaukee Teachers College before coming to MSC. She placed and observed
student teachers and observed all the vocal student teachers personally without
the assistance of other faculty or graduate assistants. During the fifties there

were cooperating teachers at the junior high and high school levels, but many

82

 

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of the college students doing student teaching at the elementary level had no
cooperating teacher. The whole city of Lansing had but one elementary music
‘ supervisor, Pauline Austin, who would teach every class in one school once
and then move to the next school. That meant that each child in the Lansing
elementary schools might have music twice a year. With a student teacher, a
school would have music for twelve weeks, often twice a week, instead of once
a semester. That also enabled Miss Austin to see the remaining schools more
frequently.

Beatrice Mangino graduated from Marywood College in Scranton, PA
with a BM degree. She taught in West Virginia for several years and then
became a music consultant for the state. Mangino met Weldon Hart, head of the
music department at University of West Virginia, who convinced her to work on
her Master of Music Education degree. While there, she was the baby sitter for
Hart’s daugter, who now works at MSU. Hearing of an opening at Michigan
State, Hart suggested that Mangino apply for the position, which she obtained.
Mangino taught music education courses for non-majors and fine arts majors,
music methods for classroom teachers, and class piano for majors, non-majors
and adults. She gave workshops all over the state for many years. She also
taught an adult piano course at night, as well as giving private lessons and
training teaching assistants. Mangino feels that the women of the department
endured some discrimination, being promoted more slowly and bearing a larger
share of the work load the the men.” (Personal Interview.) When Roy
Underwood announced that he was leaving his position as head of the music
department due to advancing arthritis, Mangino notified Weldon Hart at UWV,
who then applied for and was hired as head of the music department at MSU.

 

“ThTs was true of the university as a whole, according to James Niblock, stated in a personal
interview.

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In 1972 Mangino started Music for Children, an ‘outreach program for
area children after school. This program lasted until her retirement in 1990, and
was the precursor of the Early Childhood Music Program in the Community
Music School.

W

When Professor Roy Undenrvood came to Michigan State in 1940, the

Lansing State Journal quoted his philosophy of music :

For many people whom I have observed, music is just as much a

.1...

form of emotional self-expression as painting, poetry, and exciting
football games are to others. I have often wondered whether there
is a possibilty that the study and enjoyment of music might help
prevent nervous disorders, since it has been demonstrated time
and again that music has therapeutic and curative qualities for
those already mentally or nervously ill.

Music therapy as a course of study and a degree program in college was
initiated by Underwood, head of the music department as well as director of the
Division of Fine Arts, in 1944. Michigan State’s degree program was the first of
its kind in the world. Underwood had come from the University of Kansas, where
he was a close personal friend of E. Thayer Gaston, considered by many to be
the father of music therapy (Smith, 1985, p.3). Gaston’s music therapy division
at the University of Kansas opened in 1945, one year after Michigan State’s
program.

Music therapy can be a powerful tool to help persons with physical and
mental disabilities of many kinds, trauma and stress, and aging. The focus is on
developing new skills and abilities, the restoration of lost abilities, and the

maintenance of healthy functions. Its use was first demonstrated in the surgical

84

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t0 ex;

arena and in mental hospitals. Some coursework on the therapeutic and
functional uses of music was offered by Columbia University and a few articles
began to appear in medically oriented publications in the early 1900’s.
Underwood was interested in music therapy as it related to psychomotor
disorders of musicians. His concerns in the application of therapy were not as
broad as those of Gaston. He focused on temporary pain or immobility of joints
prior to playing, on stage fright, and on musical memory lapses. Initially he
would only accept piano majors into the therapy program (Smith, 1985, p.4).
Soon after his arrival, Underwood met Dr. Ira Altshuler, an internationally known
psychiatrist, who was Director of Group and Music Therapy at Wayne County
General Hospital in Eloise, Michigan. A committee of faculty from music and
psychology, with Dr. Altshuler as consultant, established the provisional
curriculum, which included general music, psychology, sociology, physical
education, zoology, and speech classes, followed by a four month internship at
the Eloise facility. From 194410 1956 the core courses were supervised by
Underwood and taught by guest lecturers drawn from clinical agencies in
Michigan. Underwood credited President John Hannah as one who was willing
to GXperiment with these new ideas about a different use of music.

At the 1950 annual meeting of the Music Teachers National Association,
Undenlvood, who was program chairman, invited Ray Green of the Veterans
Administration to discuss forming a national association for music therapy. In
JUNe of 1950, the first meeting of the National Association for Music Therapy
(NAMT) was held in New York, with 22 members. Underwood was elected the
“'94 Vice-president. Gaston was also involved. The organization established
p 'OfssSional standards for practice, education, and clinical training; a code of

ethics; publications; and support for growth and development in the field. In

85

 

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1952 Michigan State’s therapy program was revised to reflect NAMT standards.
lntemship was increased to six months.

In 1956 MSU hired Robert Unkefer, Registered Music Therapist (RMT), to
teach specific therapy courses. Unkefer had graduated from the University of
Kansas’ graduate program in music therapy and also had five years of clinical
practice. Over the years, his program at Michigan State became a model for
new programs across the country, and many of Unkefer’s graduates went on to
become influential in the field.

W
The Annual Reports of Roy Underwood from 1946-47 through 1956-57

are still available. One overwhelming thread in these reports is the need for a

 

pipe organ. Undenrvood stated that he did not know of any other major college
in the country that did not have one. Fortunately for Michigan State, the organ at
Peoples Church in East Lansing was available for practice and for lessons for
many years.

According to Corliss Arnold, who wrote a substantial article on organ
instmction at MSU when Kenneth Bloomquist requested it for a history of the
music department, this is what happened.

“Pipe Organ Instruction at MSU before 1959” by Corliss Amold
Two people were the principal pipe organ teachers at MSU before
September 1959. Both were the organists at The Peoples Church,
200 West Grand River, East Lansing, directly across the street from
Mary Mayo Dormitory on the Michigan State campus. They had
the title “Extra Stafl” and were paid on an hourly rate for the

instruction they offered those who wished to study organ.

86

Helen Roberts Sholl was the organist at Peoples Church from
approximately 1926 until 1953. Mrs. Sholl, a native of Milwaukee,
was the wife of Professor Lloyd Sholl, who taught in the College of
Veterinary Medicine. Her organ study led to a Bachelor of Music
degree in organ at Cornell University... . Mrs. Sholl’s instruction
was highly respected, and she encouraged her students to be
alert to opportunities to hear concert organists and to perform in

churches and recital often... .

In 1952 James Autenrith, a graduate of the Crane School of Music,
State University of New York, Potsdam, succeeded Mrs. Sholl as
the organist of Peoples Church. He also directed the choir and
taught pipe organ for the university at Peoples Church. He served
in this position until 1959. In addition, Barbara Pemecky and
Lawson Jones (organist at All Saints Episcopal Church, East

Lansing) taught elective organ students.

I came to Michigan State University in September of 1959, and
taught for 32 years. My academic background includes the
Bachelor of Music degree (1946, Hendrix College, Conway,
Arkansas), the Master of Music degree (1948, University of
Michigan, Ann Arbor), The Doctor of Sacred Music degree (1954,
Union Theological Seminary, New York City), and three
professional certificates from the American Guild of Organists:
Choir Master, Associate, and Fellow. In 1956-57 I studied as a

Fulbright scholar at the Conservatoire National de Paris with

87

Andre Marchal and Nadia Boulanger, and during the summers of
1970 and 1977. I studied at the Organ Academy in Haarlem, the
Netherlands.

I have held church music positions in Arkansas, New York, New
Jersey, Illinois; and I will have served 33 years as Director of
Music and Organist at The Peoples Church, in East Lansing, when
I retire in the summer of 1992. I directed the Michigan State

1 University Church Music Workshop for over twenty years. I have
played organ recitals and presented lectures and workshops
throughout the United States, served as organist for the Cooley
Law School in Lansing since its founding, and have published
several organ and choral compositions. In addition I have written
Organ Literature: A Comprehensive Survey, which has been

published in its third edition.

For many years I taught only pipe organ study at Michigan State
and later rather unexpectedly began teaching music theory when
the organ class diminished in size and one of the theory teachers
went on sabbatical leave. From that time I taught more and more
theory courses. The organ teaching has been very rewarding; l
have had some excellent student musicians at both
undergraduate and graduate levels... .
h A r n
Bea Eshenour arrived at Michigan State as a sophomore in the fall of

1948 after a freshman year at University of Connecticut. She was elected to the

88

 

.m.__g______'

 

Student Council, running as an experienced candidate, since she had been on

the Student Senate at the University of Connecticut. Bea Eshenour Johnson

WI’OtSZ

I was horrified to find that the Alma Mater of MSC was to the

same tune as Comell’s. I suggested a change and found myself
heading up a committee to find a new Alma Mater. When we
began soliciting suggestions and they came in - Don Jackson (the

Varsity Band director) and l, and a few others, would try them out

i on the piano. l was the only piano player! We had some excellent

songs- but when I heard MSC Shadows - I knew that was the one!
The competition selections were arranged and played not only
over the radio - but on the day of voting - played on loud speakers

all over campus.

“Shadows” won the competition. It is based on a tune from the
sextet in the Donizetti opera “Lucia di Lammerrnoor” with words by
former Spartan coach Bernard “Barney" Traynor. Only the first
phrase is a direct quote from the opera. Traynor evidently supplied
the rest of the tune. The arrangement, with which all Spartans are
familiar, was done by H. Owen Reed, MSU theory and

composition professor.

89

 

 

FlgL

SEARCH NARROWEDI
Council Selects Four Songs

 

Alma. Mater
Choices Ready
For. Public

The search for a new alma mater has narrowed to four songs

picked by a student council committee, Bea Eshenour, Lansing

 

sophomore, announced yesterday.

A panel of judges appointed by the student council alma mater
committee selected the songs. Members of the panel were David
F. Machtel, assistant professor of music; Don Jackson, assistant
director of bands; Jean McCowan, Lansing sophomore; and Miss

Eshenoun

According to Miss Eshenour, Jackson will work on choral

arrangements of the songs over the weekend.

F-
'Qul'e 15. State News clipping from 1949. Courtesy of Bea Eshenour Johnson.

90

 

MSC Shadows

M. S, C. we love Hui Shad-ow; When +wi —liqlnl- sl-Ieuce

Flush- imq and soil — 1L1 Pal — inq O’<r

- neaik ‘HAC Pines we'll qallt- er To

S'mq 00r- [oue {or

 

substitute for MSC’s alma mater. It will

The words and music to “MSC Shad-
be one of the songs which State students

Ows.” printed above, are familiar to most
MSC students.“ was written two decades will vote on in the Mar. 3 election for '
ago by Barney Traynor, a former Spar- a new college alma mater. The other two
1.an athletic coach. “Shadows” has been songs under consideration were printed
Suggested for many years as a possible in The State News last week.

Figul‘e 16. State News clipping from 1949. Courtesy of Bea Eshenour Johnson.
T ' w ‘ i
The Richards Woodwind Quintet was organized in 1948 by Roy
L’n(jehivood, head of the music department. It was one of the first resident wind
quintets in the United States. Organized as the Michigan State College Faculty
YVQQCIwind Ensemble, it took the name Richards, in memory of Lewis Richards,
first |"lead of the music department at Michigan State, in the early 1960’s. The

91

 

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original members were Russell Friedewald, who played flute from 1948 to 1965;

Paul Harder, Oboe, 1948-65; Keith Stein, clarinet, 1948-62; Edgar Kirk,

bassoon, 1948-90; and Douglas Campbell, french horn, 1948-90.

 

FiQI-Jre 17. Original MSC Faculty Woodwind Quintet. From left to right: Keith

Stein, clarinet; Douglas Campbell, horn; Paul Harder, oboe; Edgar
Kirk, bassoon; Russell Friedewald, flute; with Howard Silberer,
piano. Picture courtesy of Edgar Kirk.
flame
When Roy Underwood came to MSC, Frank Mannheimer was head of

piano studies. Mannheimer had previously been a concert artist, music critic,
and teacher. Ruth Mack had taught piano since 1922. Joseph Evans was
appointed instructor in 1941. Evans had come to MSC in 1933 with a

s . . . . . .
cholarship to study wrth Lewrs Richards. Evans described the Stiff requrrements

92

for his Master of Music degree to Wilson Paul: (Paul, 1979, p.232.)
...a comprehensive two-hour oral examination over music and

non-music subjects; knowledge of a foreign language; sight
reading an orchestral score on the piano; and as a final hurdle, to
perform from memory a Bach Suite assigned one week prior to the
exam. That, in addition to the usual solo and recitals.
Evans accompanied faculty members in recitals as a student.
Maurice Dumesnil joined the faculty in 1944, and Barbara Gordon,
Patricia Spicer, Howard Silberer and John Shelby Richardson were hired in
1 945. Silberer, who had known Lyman Bodman previously, recommended him
to Underwood for the violin position. John Shelby Richardson spent the rest of
his academic life at MSU, and he and his wife Florence were famous for doing
two-piano concerts in period costume. Their portrayal of Robert and Clara

Schumann was particularly memorable. (Personal interview with Lauralee

Campbell.)
Underwood invited Ernst Victor Wolff to conduct master classes in the

Summer of 1947. He enjoyed the surroundings and accepted an invitation to
Stay on as head of the piano faculty. Wolff received a PhD from the Univeristy of
Be" in in 1913. Wolff told Wilson Paul that a loyal friend in the German
g("’et‘nment helped him and his harpsichord escape Hitler (Paul, 1979, p.235).
Wolff improvised the harpsichord part for Bach’s St. Matthew Passion for Serge
KouSsevitsky and the Boston Symphony soon after he came to America. At
MSU he gave a series of lecture-recitals on WKAR-TV in the early stages of
cc)“ege TV presentations. He received the University’s Distinguished Faculty

Award in May 1960 and then died unexpectedly in August.
Henry Harris was the last piano faculty member to be appointed by

93

 

 

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Undenivood. Harris had studied at the Conservatory of Leipzig, Germany, and
graduated from the Philadelphia Conservatory. Joining the faculty in 1954, he
taught summers at lnterloohen and also presented “Great Composers” over
WKAR-TV and “Piano Profiles” over WKAR-radio.
191.93
In 1946, Herbert Swanson, David Machtel and Suzanne Pfitzer were

hired as voice instructors, and Machtel was also director of the Men’s Glee
Club. In 1950, Ethel Arrneling came from Eastman School of Music. Two years
later Gean Greenwell joined the staff as head of the voice department, and
Edward Richmond became director of Men’s Glee Club. Greenwell’s wife
Pauline also taught voice. According to Jonathan Reed, current Men’s Glee
Club director, in the late 1950s, Men’s Glee appeared in the Dinah Shore
Show, the Ed Sullivan Show, and at President Eisenhower's Inauguration.

The circumstances behind the hiring of Ethel Arrneling bear telling. After
graduating from Eastman in June, she returned to her Colorado home. Hiking in
the Rockies one day, she stopped to sing, where Roy Underwood, also hiking
the same trail, followed the sound of her voice and hired her. Arrneling’s career
at MSU lasted forty years, and she is one of those frequently cited as most
influential teacher.

Lauralee Campbell tells of David Machtel’s years, since she was both
music librarian and a faculty wife at the time. Machtel was worried about his
POSition so when the Men’s Glee Club was on tour one spring he bought lots of
Postcards and had the boys write to Underwood about how wonderful the Glee
C'Ub was. They wrote as though they were the audience. Machtel married a

daughter of the President of Oldsmobile and directed an Olds women’s chorus

Called the Merry OIdsmo-belles.

94

 

W

Edwin Stein, brother of Keith Stein and MSU graduate with his
bachelor‘s degree, directed the chorus, Men’s Glee Club and a cappella choir
while William Kimmel was in the army. The chorus performed with both the
orchestra and, more unusually, the band. Stein also hosted the first meeting of
the Mlchigan Choral Festival held at MSC.

William Kimmel returned in the fall of 1942 to direct the same choirs (a
cappella, chorus, and men’s glee). World War II decimated the male sections,
but the a cappella choir under his direction had performed Bach’s B minor
Mass, and Mendelssohn’s Elijah, and became a permanent musical voice on
campus.

Gomer Ll. Jones directed the a cappella choir for a year as well as the
college chorus, until the arrival of Richard Klausli in 1948. Klausli had two
degrees from the New England Conservatory. Klausli taught music history and
a church music course as well as directing the choir. The transformation of the
a cappella choir to State Singers occurred in 1955. Department chair Roy
Underwood watched members of the choir packing their instruments on the bus
for a tour in 1954. He sent Richard Klausli a memo to the effect that an
a cappella choir should not use instruments. Klausli replied that it made a more
interesting concert and that if this was a problem, the group’s name could be
Changed. Underwood replied that a name change was a fine idea, and thus
State Singers were born. This was the top choral group until the 1970’s, when
Robert Harris selected the best of the State Singers to be the Chorale. State
Sir'Qers toured frequently during Spring Break. Richard Klausli is another

pr Ofessor who appears on lists of “most influential teacher.” (He certainly was

mihe.) As a teacher he made history come alive.

95

 

 

 

 

Figure 18. 1952 A Cappella Choir. From 1952 Wolverine.

96

W
In the earty years there were few teachers of theory and no official
teachers of composition, though many of the faculty, including department
heads, were composers. H. Owen Reed, an early teacher of theory, worked very

hard to change that. Most theory teachers during Underwood’s administration

also taught something else.
H. Owen Reed came to MSC in 1939 when the Music Building was under

construction. His first office was in a building on Grand River and his second
office was in the old Music Practice Building. Reed has four degrees: a BM from
the University of Missouri; a BA in French and a MM in composition from
Louisiana State University, and a PhD in composition from Eastman School of
Music, where he studied with Howard Hanson. He has composed for orchestra,
band, chorus, stage, chamber ensemble, and solo instruments, and has
received a Guggenheim Fellowship, the Composer’s Press Symphonic Award,
and the MSU Distinguished Faculty Award.

Reed told of the difficulty he had establishing a degree in music theory
and composition. There was a Theory-Composition bachelor’s degree on the
books, but no one had graduated with that degree. Music education professors
were particularly against this degree. This may explain why William Sur
Criticized Bea Mangino for talking to Owen Reed. (Personal interview, Bea
Mangino.) Robert Sherman was the first graduate with a major in Theory and
Composition in 1948. After this was established and students were graduating
With the Theory and Composition bachelor’s degree, Reed went to work to
eStablish a Master’s program. This time he got two separate degrees, one in

Theory and another in Composition. Robert Sherman received the first Master's

degree in Composition in 1950. Wilson Paul says:

97

 

Because of the feeling that one could not find employment in
music unless he majored in Music Education or Applied Music, the
awarding of these degrees broke the barrier... in the development
of the programs (Paul,1979, p. 318). ‘2
Since Robert Sherman was hired as a college theory teacher on graduation,
the myth that graduates with theory and composition majors would starve was
debunked. A number of students came to Michigan State at the Master’s level
after completing their Bachelor’s degrees elsewhere.

One of the big changes in theory was a course called Materials of Music
for juniors and seniors. It covered the five bases: rhythm, form, melody,
harmony, and color, and tried to correlate them in a meaningful way. This was
very progressive for a time in which most schools offered separtate courses, like
Form and Analysis. The master’s program was going well, and the ensemble
directors were very cooperative about performing the students’ compositions.

Reed then started talking about a doctorate, feeling that it was too bad to
have to send students off to Eastman. The first answer was negative, because a
PhD was a research degree, and the feeling was that composition was not
scholarly. Reed asked many professors if analyzing a Mozart symphony would
be scholarly. Everyone agreed that was scholarly. Reed’s argument was that if
taking something already created and analyzing the chords was scholarly, how
could taking something from nothing and creating it not be scholarly? Dr.
Osgood of the Physics Department agreed that the creative process was more
scholarly. His opinion helped, and the PhDs in Composition and Theory were
offered. The high point of Reed’s career was to be able to offer this program.

Reed was careful to pick good solid musicians for his program: Jere Hutcheson,

 

7’ My recollection is that students were not encouraged in applied music either, again because
they would not be able to make a living.
98

 

 

Charles Ruggiero, Adolphus Hailstork, and David Maslanka are a few of his
students who have become successful composers. Another famous pupil was
Clare Fischer. (Personal interview.)

Theory and Composition were divided into two areas with the advent of
the two master’s degrees, with Paul Harder appointed head of Theory and H.
Owen Reed appointed head of Composition. Russell Friedewald became

actively involved with the pedagogy ot Theory as well. Doctor of Philosophy

 

degrees in Theory and Composition were established in 1957 and Evan Copley
received the first degree in Composition in 1958. Charles Hoffer, former
president of MENC, says that he received the first PhD granted by the music
department in 1955 and he is under the impression that the Theory and
Composition PhD’s were in existence when he received his degree. (Personal
interview.)

Reed taught at MSC-MSU for 37 years and was so content that he never
made an effort to move on. Roy Underwood saw him in the hall one Monday
morning when he had first come and inquired about his weekend. “I picked up a
little extra money this weekend playing a dance job in Battle Creek,” said Reed.
Underwood said, “If you expect to get anywhere on this faculty, give up this
jazz.” Reed did, and played trumpet in the Lansing Symphony instead. Jazz had
put him through ten years of college, however, so he did keep listening to it.

Reed related the following story about the beginnings of the Geriatric 6
plus 1. During his time at the Men’s Club (now the University Club), Reed talked
to many members who had played jazz in college. One day Sandy Sandefur
Came to Reed and invited him to his house Saturday night with several others.
“Bring your ax,” said Sandefur. “We’re going to have a session!” They had a

great time and played better than they thought they could.

99

 

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A full professor of art, Owen Brainard, played drums; the head of social
sciences, Bill Faunce, played trumpet; Reed played piano; Crane played
clarinet, and Sandefur played banjo. Reed was sent by his dentist to have a root
canal, and the new dentist asked what he did for a living. The dentist was not
impressed with a composer and teacher, until Reed told him he was also the
piano player in the Geriatric Six plus One. Then the dentist became very excited
about working on Reed.

WWW

Teachers of Music History and Literature in the 1940s and 505 were
Gomer Jones, J. Murray Barbour, and Richard Klausli. Hans Nathan taught the
music portion of the Basic College course, Literature and Fine Arts, which

included literature, art, and music. Nathan also taught in the Music Department.
f r i P

Former students Marvin and Mary Wilson recalled meeting in Gomer
Jones’ church choir in the 1940’s. Marvin was stationed on campus during
World War II and Mary Wilson was working on her degree in Public School
Music. Helen Sholl was her most influential teacher, since Mary was an organ
major. Marvin Wilson cited Fred Patton, David Machtel, and Mrs. Ruth Mack as
his major influences when he became a student after the war. Both enjoyed
Gomer Jones. Their oldest son Douglas, now a school principal and organist in
Les Vegas, Nevada, also majored in music education at MSU, citing Corliss
Arnold as his major influence. When Martha White realized that Doug was the
Son of former students, she said it must be time to retire - and she did. Both
Wilsons, though long retired from teaching, are still musically active.

Former student Roger Topliff, BM, 1954, MM, 1958, spent three years

after graduation in the Fifth Army Band, composed of 150 players with music

100

 

 

degrees. In 1957 he returned to MSU to work on his master’s degree as a
woodwind specialist. He then taught in Cement City, Michigan, a class D
school. Of 200 students in the school, 50 were in the band. Next he moved to
Hiram College in Hiram, Ohio, a small liberal arts college of 1200 students. In
1967 he left to go to the University of Colorado for a PhD in composition and
theory. He taught privately in Boulder, Colorado, 40 to 50 students a week,
played in bands, and taught in University of Colorado’s Continuing Education
Department for 30 years.
Topliff began studying clarinet with Keith Stein in 1946 as a freshman at
Mason High School. Stein and Leonard Falcone were his major influences as
an undergraduate. In graduate school, Edgar Kirk, bassoon, and Russell
Friedewald, flute, were very influential, as were H. Owen Reed and James
Niblock in theory and composition. Gomer Jones introduced Topliff to the Bartok
String Quartets, and he still remembers Gomer’s enthusiasm in the classroom.
He was also impressed later on by Kenneth Bloomquist, and went on all the
European tours of the Alumni Band led by Bloomquist.
Richard Goldsworthy (BM, Theory and Composition, 1952; MM,
Composition, 1958) was an early graduate in Theory and Composition. He
remembers less than a dozen theory and composition majors at that time. He
taught for a number of years at Rochester High School as band director. He had
t0 take 18 credits a year to make up for his lack of teaching certification.
c3<>ldsworthy’s main influences were Leonard Falcone, Richard Klausli, and
Gomer Jones. He tells of Gomer Jones drinking chocolate milk, with a little
Scotch in it. Another apocryphal story has Jones’ false teeth flying out of his
rT'Iouth while conducting. He grabbed them, stuffed them back in his mouth and

didn’t miss a beat. Goldsworthy also remembers Mr. Gorton policing the practice

101

building to evict anyone playing jazz. (Mr. Gorton was ‘an older man, probably
retired, who checked out instruments to students and policed the practice
building.) Goldsworthy currently works at Blue Lakes Fine Arts Camp.

The same jazz story was also told by Clare Fischer, (BM, 1951, and MM,
1955, composition) during a recital in 1997 at East Lansing. Fischer is one of
four graduates from the School of Music to receive a Distinguished Alumni
Award (1985) as well as an honorary doctorate (1999). (The others are Dorothy
DeLay, Charles Hoffer, and William Brohn.) As a student, Fischer rented a room
in East Lansing to hold his piano so that he could practice jazz. Fischer has won
two Grammy’s for his jazz and has played on, arranged, or composed nearly

150 albums during his career.

102

. -i.__..

CHAPTER SEVEN
THE HART, REED, AND HODGSON ADMINISTRATIONS, 1957-1963,
AND THE JAMES NIBLOCK YEARS,1963-1978
W
In the fall of 1957 Dr. Weldon Hart replaced Roy Underwood as head of
the Music Department, although Underwood continued as head of the Fine Arts
Division. Hart came to MSU from the University of West Virginia and was a well-
known violinist and composer. Hart took his own life after two months at
Michigan State. According to Ethel Armeling, Hart was well-liked and everyone
was shocked and saddened by this tragedy. Hart’s daughter, Margaret Dionese,
explained that Hart had suffered from depression, which was controlled by
medication. A change of medication was prescribed, which worsened the
depression, and this medication precipitated the deaths of a number of others at
the time.
The following letter was received from the University of Michigan and

discovered in the minutes of Music Faculty Meetings 1956-65:

It was with deep regret that the Faculty of the School of Music here
Ieamed of Professor Weldon Hart’s recent passing. At our faculty
meeting last evening it was the request of the group that our

expression of sympathy to you be communicated through this

leflen

We were of course proud of the fact that Professor Hart was an
alumnus of our school. But more than that we felt that his

appointment to Michigan State University brought our two

institutions closer perhaps than they have ever been. His passing

103

 

8.0.3
at—

8F.

we know is a great loss to Michigan State, but his memory we are
sure will linger for a long time, not only on your campus but on the
campus of the University of Michigan.
Most sincerely,
Theodore E. Heger
Secretary of the Faculty
R - I -

H. Owen Reed, head of Composition, became acting department head
for the rest of that school year. Walter Hodgson, Dean of Music at North Texas
State College, replaced Reed as department head. While chairman (1958-63),
Hodgson served on a committee to organize the College of Arts and Letters,
encouraged opera workshops, and served on the Summer Fine Arts Committee
administered by Dr. Wilson Paul (Paul, 1979, P. 224). Hodgson also organized
an American Federation of Musicians Congress of Strings, which was held on
campus during the summers of 1961-66.

Hodgson told Paul:
Perhaps the most important change during my headship of the
music department was the addition of the PhD degree in music
theory, composition, applied music and music education. We had
quite an argument over whether the degree should be Doctor of
Music, or Doctor of Musical Arts (DMA), as they have in many of
the large schools of music. Eventually this was settled as I wanted
it with the conventional degree (PhD). It was finally passed, I
believe, in 1961, although we were already coaching students to
begin the program in 1960 (Paul, 1979, p. 226).

There has to be some misunderstanding here, since the Composition

104

 

and Music Education doctorates were already in place. This conflict was
probably about a doctorate for performance (applied) majors, since the
controversy involved the DMA degree. In any case, the result was to add a PhD
in performance.
Hodgson also attempted to start a jazz program. He brought M. Eugene
Hall to Michigan State from 1959-62 to do this. Some professors were very
hostile to Hall and to the idea of legitimizing jazz. After three years of struggle,
Hall left Michigan State. Hodgson resigned as department head to retum to full
time teaching. He taught all the music theory and music history courses for non-
majors for the remainder of his teaching career. The following statements, taken
from the Minutes of Music Staff Meeting, September 22, 1958, 9:00 A.M., are
intended to show the sort of man Hodgson was:
...With a large and splendid teaching staff, enrollment in music is
far below par. It was stressed that all must do everything in our
power to get and keep more majors if we are to avoid drastic staff
cuts. ...Suggestions: that faculty call on every resource to inspire
and encourage the average student... that musical talent is
variable - some great musicians were considered talentless by
teachers who have gone down to oblivion, that the faculty avoid
the use of sarcasm or an ironical tone in their teaching. Although
this is a valuable tool with certain very brilliant students, it only
discourages others... That faculty come to all possible student
recitals.
Hodgson talked with students following their recitals.
One issue that Hodgson attempted to deal with was the recital

requirement. In the early fifties music students were expected to attend

105

 

 

Thursday aftemoon recitals and also a certain number of faculty and guest
recitals each term. Each student had a card that was punched at each recital.
Dorothy Branaman Pelton, on Ieaming that there was no recital requirement in
1 995, remarked that it was recital hour that gave music students a sense of
community. (Personal interview.) The February 10, 1958 faculty minutes
describe a new policy of 10 recitals a term. If the student was deficient, then he
was expected to take an extra two credit music literature course. The faculty
minutes are full of student requests to have the recital requirement waived.

Hodgson was also concemed with recruiting more students to MSU,
which was a concern of the whole university at the time. According to the March
17, 1958 minutes, fewer than half the students who were accepted to Michigan
State actually enrolled. Almost 2,000 students dropped out before mid-terms,
and many more left at the end of first semester. The music department decided
to deal with the first part of the problem by having staff members contact
students immediately after their acceptance.

In 1962 Hodgson brought to MSU the duo piano team of Pierre
Luboschutz and his wife Genia Nemenoff as artists-in-residence. Along with
former MSC teachers Michael Press and Zinovy Kogan, they had also escaped

the Russian Revolution. They stayed at MSU six years and then retired.

9.0111820
The summer of 1960 saw the first Fine Art Festival. This was a five day
festival established by Clair L. Taylor, Director of Summer School and Evening
College, and Wilson Paul, Director of the Lecture-Concert Series. Walter
Hodgson served on the committee. At the opening Convocation, Robert Shaw
gave the address and was presented with an Honorary Doctor of Music degree.

The festival included music, art, films,dance, and landscape architecture. The

106

culminating event included an orchestra, prepared by Romeo Tata of MSU, and
a chorus, prepared by Henry Veld of Augustana College, performing Brahms’
Requiem, directed by Robert Shaw.

In 1961 the culminating event was the Verdi Requiem, again directed by
Robert Shaw. Howard Swan prepared the chorus, and Hans Lampl prepared
the orchestra. The Congress of Strings festival was established by the American
Federation of Musicians in 1959, and Walter Hodgson invited the Congress to
come to MSU for the third year. This lasted from June 18 to August 12, and was
coordinated with the Arts Festival. The Congress of Strings was held on campus
every year from 1961 through 1966.

One hundred outstanding young string players from all over the United
States and Canada attended the Congress of Strings and performed under
Erich Leinsdorf, conductor of the Boston Symphony, and Eugene Orrnandy,
conductor of the Philadelphia Orchestra, to name just two. American Federation
of Musicians President Herman Kenin said that many students received
permanent contracts with major symphonies and that an equal number received
scholarships to college as a result of the Congress of Strings (Paul, 1979, p.
226). Jere Hutcheson cites the Congress of Strings as one of the most important
outreach experiences during his career at MSU

The following year, the Congress of Strings Orchestra accompanied the
chorus, which sang Stravinsky’s Symphony of Psalms, Bach’s Magnificat, and
Schubert’s Mass in G Major. The MSU orchestra, directed by Hans Lampl, and
the summer band, directed by Leonard Falcone, also participated in the festival.
Besides the Art Festival, a piano workshop, led by John Richardson of MSU, a
church music workshop, headed by Corliss Arnold of MSU, and the Stan

Kenton Stage Band Clinic also took place. Robert Jennings, who graduated

107

 

 

with a PhD in music in 1960, tells of singing with Robert Shaw, one of the
greatest choral conductors of our time, during the three summers he was in
residence. (E-mail to Kathy Walsh, sent for this paper.)

in 1963 Gomer Jones’ De Profundis, Faure’s Requiem, and Verdi’s Te
Deum were programmed. Robert Shaw was scheduled to come, but had to be
replaced by Ralph Hunter. The piano, church music, and stage band workshops
were joined by a string teachers conference.

For the next few years there was no chorus in the Art Festival. The
Congress of Strings affiliation with MSU ended after 1967. The Art Festival
continued through 1970, focusing on different elements of the arts, such as folk
music and Afro-Haitian dance. Corliss Arnold held a Festival of Organ Recitals
for the dedication of Hart Recital Hall and the new organ in 1969. In the final
year Gomer Jones led the summer orchestra and chorus in a performance of
Mendelssohn’s Elijah.

WNW

James Niblock replaced Hodgson as department head in 1963. Niblock
had been hired as a violin instructor in 1948 and also played in the Beaumont
String Quartet and Lansing Symphony. His BA and BEd degrees were earned
at the State College of Washington and his PhD was earned at the University of
Iowa. Niblock served as department head from 1963 until 1978. Under his
leadership the old Music Practice Building was razed and a new five story
practice building was erected. The new building, built in 1969, had a lecture
hall, four classrooms, 62 practice rooms, 68 offices and studios, a psychology
laboratory and music therapy facility, and an electronic music studio.

According to the State Journal, the old music practice building was the

108

 

second oldest building on campus, when it was razed in June, 1967, to make
way for the new five story $1,425,000 practice building. The old building used to
be known as Old Abbot and was the third men’s dormitory on campus. It was
named after Theophilus Abbot, professor of English, logic, and philosophy, and
the third president of the college from 1862 to 1884, according to Stanford and
Dewhurst (2002). It was built in 1886. Women lived in the dormitory during
World War II.

 

"fig 1 ,. ' i'

Ivy-Covered Music Practice Building to be Leveled

Figure 19. Old Music Practice Building. The State Journal, June 26, 1967.
Copy courtesy of University Archives.
Enrollment doubled under Niblock. In 1963 the music department had
329 students. Enrollment peaked in 1973 with almost 700 students, 300 of

109

 

whom were in music education. The faculty expanded from 32 to 50 full-time
members. The number of graduate assistants increased from 18 to 56. Because
every elementary education major at the time had a music requirement, many of
the graduate assistants taught music to elementary education majors.

Niblock is also a composer and has always been interested in electronic
music. He taught electronic music when he was department head. Originally the
Electronic Music Studio was in the Music Building and was used by many non-
music students as well as music majors. Niblock oversaw the transition from the
analog system, which used synthesizers, to the digital system, which is
computer based. The lab was originally named after Niblock, but when it was

moved to the third floor of the Music Practice Building, the plaque was lost.

 

Figure 20. Niblock receiving plaque from Bloomquist for the James F. Niblock

Electronic Music Studio. Picture courtesy of James Niblock.

110

Together with Robert Sidnell, Chair of Music Education, Niblock
organized the recruitment of music education students, especially minority
students. He also tried to hire minority faculty members, such as Robert Harris,
who was head of Choral Activities from 1970 to 1977. Harris left for a similar
position at Northwestern University. Niblock called this looking for minorities
part of the spirit of the times. (Personal Interview.)

Under Niblock’s leadership, negative conditions and attitudes toward
jazz softened, and courses in jazz and popular music were added to the
curriculum. New courses in Black Music and Black Composers were also
added. Niblock said that his aim was to hire the best faculty possible. Ralph
Votapek , Walter Verdehr, Charles Ruggiero, Kenneth Bloomquist, Dave Catron,
Curtis Olson, Robert Erbes, Albert LeBlanc, Theodore Johnson, the Juilliard
String Quartet, Jere Hutcheson, Mark Johnson, and Harry Begian were among
those that he hired. (Personal Interview.)

Niblock brought the Juilliard String Quartet to MSU as artists-in-
residence. Robert Mann, first violin in the group, was a boyhood friend of
Niblock. The quartet had just finished a residency at Duke University in North
Carolina and MSU needed a violinist. The quartet came to East Lansing each
term and gave concerts, master classes, and lessons to students. Lyman
Bodman said that the members of the Juilliard String Quartet were superb
musicians.

Niblock gave a lot of responsibility to his department heads, according to
Albert LeBlanc. Perhaps this allowed him time to work on the more humane
aspects of running a department. Leon Gregorian tells of looking for a graduate
school after graduation from New England Conservatory of Music. Gregorian

applied to Indiana, Michigan, and Michigan State. From Indiana he received a

111

‘lm’ ’ é “ii-Sta

 

 

form acceptance letter that included notification that the studio of the person
with whom he hoped to study was full. From the University of Michigan he
received a postcard of acceptance. From Michigan State he received a
personal letter from James Niblock saying how pleased he would be to have
Gregorian at MSU, and that Luboschutz and Nemonoff, the duo pianists hired
after Ernst Victor Wolff’s death, would be equally pleased to have him in their
studio. The personal touch made a difference to Gregorian, who came to MSU,
where he later returned to direct the orchestra. (Personal Interview).

Other highlights during Niblock’s time as department head include the
Richards Woodwind Quintet performance at the White House and the ground-
breaking for the Center for the Performing Arts (not yet named Wharton Center).
Owen Jorgensen’s book, Tuning the Historical Temperaments by Ear, was also
published. (Jorgensen was the faculty piano technologist.) Professors Emeritus
Gomer Jones and Alexander Schuster died in 1977.

mm

Charles McDermid joined the music education faculty in 1957, teaching
until 1992. He was responsible for courses in elementary general music. Bea
Mangino started and was director of the after-school music program for children
ages three to seven. Music for Children began in 1972 and is another example
of outreach. Children were often taught by intern teachers trained by Mangino.
Robert Sidnell came to MSU in 1960 after finishing his PhD at the University of
Texas. When William Sur retired as head of music education in 1968, Niblock
appointed Robert Sidnell (1960-1978) as new head of music education.

Sidnell was responsible for a curriculum self-study which resulted in
revisions to the PhD in Applied Music, the Bachelor of Arts in music, and a

reduction in credits in the BM program. He also developed a research course in

112

i i-‘5 *. .' h—r“ T“. on

 

 

music education for graduate students, researched the use of audio-visual aids
for the teaching of music, directed the Summer Youth Music program, and
served as Editor of the Michigan Music Educator. Allyn and Bacon appointed
him to evaluate music education textbooks.

Sidnell placed a great emphasis on graduate research, according to
Robert Erbes. (Personal interview.) He taught and advised all the graduate
students himself. Albert LeBlanc (1976-2003) feels that Sidnell was particularly
effective at attracting minority candidates, many of whom have become
prominent nationally, to the doctoral program. This was previously noted in
regard to James Niblock’s work as department head. Sidnell left to become a
dean at Stephen F. Austin University in Nagadoches, Texas in 1978.

Th ea mont trin uart t

The Beaumont String Quartet remained active, though its personnel

changed. .5."

 

Figure 21. Beaumont String Quartet: Romeo Tata, Ted Johnson, Lyman

Bodman, Louis Potter. Picture courtesy of Lyman Bodman.

113

 

 

Figure 22. Beaumont String Quartet. Ted Johnson, Walter Verdehr, Louis 1
Potter, Lyman Bodman. Picture courtesy of Lyman Bodman. E7
The Ri hards Woodwind uintet
The original members of the quintet were: Russell Friedewald, flute; Paul
Harder, oboe; Keith Stein, clarinet; Edgar Kirk, bassoon; and Douglas
Campbell, French horn. They played together until 1962, when Elsa Ludewig
(Verdehr) replaced Keith Stein, playing until 1982. Daniel Stolper replaced
Paul Harder in 1965, and Russell Friedewald was replaced by Ramona
Dahlberg for a year, followed by Alexander Murray from 1966-74, and Israel
Borouchoff from 1974-92. Since its inception, the quintet has performed in
major United States cities. Its Carnegie Hall debut was February 26, 1968. Ernst
Victor Wolff, David Renner, and Ralph Votapek assisted the quintet on piano, as
did Theodore Johnson and Walter Verdehr, violinists, and Corliss Arnold,
harpsichordist.
The Richards Quintet’s crowning moment was to give a 12 minute

concert at the White House for President Nyerere of Tanzania, hosted by

114

 

President Jimmy Carter on August 4, 1977. Edgar Kirk'described the event in
Music Notes of fall 1977:
The invitation was called to the quintet’s New York management
on the moming of July 26, and was relayed to East Lansing
immediately. As is normally the case during the summers, the

members of the quintet were widely scattered. Dan (Stolper) was

 

at lnterloohen, where he has been on the faculty for many years;
Elsa (Verdehr) had just gone to Wyoming to play first clarinet in the

Grand Teton Music Festival; Doug (Campbell) was, as always,

ombxsia

teaching at the New England Music Camp in Oakland, Maine;

Israel (Borouchoff) and l were in East Lansing.

The White House had requested a reply by noon of the 26th, but
this was just not possible. Fortunately, they agreed to wait until
noon of the 27th, which was more than enough time. I spent the
rest of that day on the phone, and by 5:00 pm. had contacted all
members and received their eager assent to the question, “Would
you like to appear in the White House next Thursday?” In addition,
I had contacted Dr. James Niblock, Music Department Chairman;
Arthur Loub of the MSU Development Fund; and Dean Richard
Sullivan of the College of Arts and Letters and received
assurance of financial aid towards the considerable air fares
involved. With all this done, a call to our manager early
Wednesday morning confirmed the date. He contacted the White

House, and was given instructions for the quintet.

115

 

Logistics were simple enough. I picked up the music of those who
were not in town and some necessary clothes for Dan and Elsa.
Assembly point was the Hay-Adams Hotel, directly across from
Lafayette Park and the White House. ...As promised, a car from the
White House came by at 3:30 driven by (and how is this for a

favorable omen) Sgt. Richards... .

It is fair to say that we all felt a bit awestruck as we entered. It is
impressive to walk into a long, dimly lit room, and to know that
seated around the one long table are the President and Vice-
President of the United States, a major African leader and his
entourage, plus assorted dignitaries of our own country such as

Andrew Young and Daniel Moynihan.

Our chairs had been set up at the middle of the room directly
across from the two presidents. Seated on our side of the table
was Vice-President Mondale. As soon as we sat down, President
Carter rose and welcomed us. It was easy for us to see why
courtesy and grace were so much a part of our lot there. He
emanates those qualities. He introduced us as faculty members
from Michigan State University and then announced the numbers
we were to play, La Cheminee du Roi Rene and the first of the

Trois Pieces Breve of Jacques lbert.

The performance went exceedingly well. It was music we know
well and play often, and once we were playing it was just another

performance. The dinner guests gave us their complete attention...
1 16

 

 

When we finished the President again stood and thanked us most
generously, after which we filed out, and the working part of the
dinner got undenNay... . It was a rare privilege, and we were most

happy to have been MSU’s representatives on such a historic

occasion.

 

Figure 23. Richards Woodwind Quintet in front of White House. Israel

Borouchoff, Dan Stolper, Elsa Ludewig-Verdehr, Edgar Kirk,

Douglas Campbell. Picture courtesy of Edgar Kirk.

The Bands
A paragraph in Paul’s book states that in 1957, a Chamber Band was

formed with the 60 best musicians, featuring performances of new music. This is
the only mention of this organization, but it certainly was the precursor of the
Wind Symphony. In 1958, the band took its first tour of lower Michigan during

SPring vacation. The next year it toured the Upper Peninsula.

117

Encore. the publication of the MSU Alumni Bands Association, published
a history of the MSU Marching Bands, reprinted from the lntemet, as written by
Michael J. Weiszbrod. The Spring, 1998 issue contained the following
information:
In 1960 William Moffit became Falcone’s Assistant Director of
Bands. Under Moffit’s drillmanship, the Spartan Marching Band

became internationally famous for its distinctive “Patterns in

 

Motion” marching style. A Moffit brainchild, “Patterns in Motion”
featured constantly changing kaleidoscopic patterns which could
be seen and appreciated by nearly all viewers in the stadium.
Based on a four-man squad system, “Patterns in Motion” would
sweep the nation as the new style in marching with college,
university, and high school bands everywhere adopting the style.
But none could quite match Moffit’s special brand of fancy footwork
coupled with special musical arrangements. (He was later to
become famous, too, for his “Soundpower” series of published
marching band arrangements, many of which were pioneered by
the MSU band. The influences of “Patterns in Motion” are still
being felt today, and have led to many more changes in marching
band style. Moffit is also credited with inventing the “spinning of
the block S” with which the Spartan Band still traditionally opens
its pregame show.

Moffit is also credited with organizing the Spartan Brass to perform at basketball

and hockey games (Paul, 1979, p. 298). (The Varsity Band under Don Jackson

Played at both hockey and basketball games when l was in school in the

1 950s.)

118

 

In 1964 the Marching Band got new uniforms: dark forest green with a
white vinyl overlay that could be removed for a concert dress uniform. The band
also represented the state of Michigan at the New York World’s Fair in that year.
The trip was paid for by Oldsmobile, and the band performed at the General
Motors Pavilion. The following year the marching band took part in President
Lyndon B. Johnson’s Inaugural Parade, again sponsored by Oldsmobile.
(Lyndon Johnson was the fourth President to hear the band. The others were
Theodore Roosevelt in East Lansing in 1907, Herbert Hoover in Washington
DC. in 1930, and Franklin Roosevelt in 1936 in Lansing on a campaign trip.)
However, when the Spartans went to the Rose Bowl in 1965, Oldsmobile was
no longer permitted to sponsor the band. The Big Ten Conference had decided
that the bands’ expenses to the Rose Bowl must be taken from gate receipts.

In 1966 Leonard Falcone announced that he would retire in 1967 after
40 years as director of the MSU bands. Harry Begian, Director of Bands at
Wayne State University, was appointed to succeed him. In 1969 William Moffit
left MSU to become Director of Bands at the University of Houston and in 1970
Begian left for the University of Illinois. In 1970 Kenneth Bloomquist and David
Catron came to MSU from the University of Kansas, Bloomquist to be Director of
Bands, and Catron to become Assistant Director of Bands and drillmaster of the
Spartan Marching Band. Catron had been band director in a high school, but
was set to become Bloomquist’s marching band assistant the next fall at
Kansas. When Bloomquist accepted the job at MSU, Catron came as part of his
team. Catron took a $4000 pay cut compared to his Kansas high school
position. (Personal interview.)

Kenneth Bloomquist writes of this time:

It was May of year twelve (1970) of my tenure at the University of

119

 

Kansas when I accepted the Director of Bands position at
Michigan State University. I was very happy at KU and had no
intention of leaving. When MSU offered me the position of Director
of Bands, I initially turned it down. There were several issues in the
band area at MSU that did not meet the situation I already had at
KU. Two items were critical to my move and do have an impact on
the history of the bands. I was able to get a full time secretary in
the band area, which had never existed at MSU. Also, I was able
to name my own assistant without going through a committee. I
named Dave Catron to be my assistant. He had been the
Lawrence, Kansas High School band director prior to 1970. The
MSU Bands had a wonderful reputation and tradition that was
nurtured through the 40 years (1927-67) that Leonard Falcone
was Director of Bands and the three years (1967-70) that Harry

Begian held the same position.

Bloomquist was very interested in music education. AI Johnston, middle

school band director at Walled Lake, told how he called Bloomquist during his

first year of teaching for help. Bloomquist was never too busy to help him.

Catron had been promised 144 bandsmen, so he wrote shows for the

whole season before moving to Michigan. When he arrived, only 112 marching

band members showed up. With Moffit and Joe Parker, Moffit’s successor, the

band was used to marching six steps to five yards, instead of the eight steps

that Catron wanted, and they used a horn swing all the way. Catron took the

swing out, but retained the four-man squad and squad leaders. He sent the

band on a “scavenger hunt” to bring back the veteran players who had left the

band, and with that effort, plus having the whole band staff march, they got to

120

the necessary 144 members. (Personal Interview.)

' In 1972 with the enactment of Title 9, a federal law that said women must
have the same opportunities as men, the marching band was forced to open
itself to women for the first time. Title 9 was an amendment to the Civil Rights
Law. In the first year the band had two women, Beth Mylnarek, a baton twirler
now married to Grand Ledge band director Mike Kaufman, and Lynn
Charboneau, the best saxophone player in the wind ensemble. Catron had had
girls in his high school band, so he was delighted to break down this barrier.
Twenty four girls were added in each of the next two years. In 1974 Catron
returned to Kansas to direct bands at Wichita State. When he came back to
MSU in 1979, women made up close to 50 per cent of the marching band. The
band expanded to its current size of 300 in the 1980’s, but the size of the
football field has limited further expansion.

The Activity Band, which had been started in 1946 by Roy Underwood
and had played at basketball and hockey games during the fifties, was
disbanded during this time, and was replaced by the Green and White
Repertory Bands. For a while one met on the East side of the campus and one
met on the West side. Dave Catron conducted these bands from 1970 to 1973.
By 1979 graduate assistants were being given additional experience by
conducting the Green and White Repertory Bands as well as the Spartan Brass,
which plays at basketball and hockey games.

In 1974 A. Thad Hegerberg, a 1964 graduate of MSU and former band
president, became Assistant Director of Bands, directing the 188 piece
Marching Band and the Big Ten Flag Corps. In 1976 new dimensions were
added to the traditional “Patterns in Motion,” borrowing techniques from drum

and bugle corps competitions. Corps style percussion, including pitched bass

121

 

drums and tri-toms were added, and so was a flag corps of 24 members. At first
the Flag Corps was co-ed, with members wearing regular band uniforms. The
band size grew to 212.
Kenneth Bloomquist continues:
I was anxious to start a guest conducting program with the bands
and, in 1972, I invited the first guest conductor during my tenure as
Director of Bands. I invited Mark H. Hindsley from the University of
Illinois to guest conduct the Symphonic Band. He was my primary
band mentor during my college years, so I was determined to
bring him as the first guest conductor. Several distinguished
conductors followed through the years and included Vincent
Persichetti, William Schuman, Karel Husa, Vaclav Nelybel, Sir
Vivian Dunn, Arnald Gabriel, Fred Fennell, Frank Erickson,
Gunther Schuller, Harry Begian, Alfred Reed, and, of course,

Leonard Falcone. ...I can’t remember all of theml.

Dave [Catron] left MSU in 1974 to accept the Director of Bands job
at Wichita State University in Kansas. Thad Hegerberg was
appointed Associate Director of Bands and held the position until
1978. Philip Carl Chevallard was appointed as an Assistant Band
Director in 1977. In that year we had a staff of three faculty band
directors (Bloomquist, Hegerberg, and Chevallard) and two
graduate assistants, as well as several undergraduate and
graduate students working for an hourly wage as librarians and

property masters.

122

 

 

During the 1977-78 academic year Chairr‘nan of the Department of
Music James Niblock appointed me to be his assistant in the
office. This was work in addition to my Director of Bands job. In
February I was named Assistant Chairman. Niblock went on leave
in March, so I assumed both the Chair position and continued as
Director of Bands. Stanley DeRusha was named Director of Bands
effective in the fall of 1978. (Letter from Bloomquist.)

The first Spartan Spectacular was held on Homecoming Weekend in the E-
University Auditorium after the football game. Spartan Spectacular was begun I‘
as an opportunity for the Music Department to showcase its ensembles for the 1
alumni. The Wind Symphony, Symphony Band, Jazz Ensemble, chamber
ensembles, soloists, and the Spartan Marching Band performed.

JAR

It has already been noted that Owen Reed had been told by Roy
Underwood not to have anything to do with jazz. Clare Fischer, Distinguished
MSU Alumnus, has mentioned “jazz police” that patrolled the Music Practice
Building in the 1950’s to evict anyone playing jazz. Fischer had to rent a room in
East Lansing in order to practice jazz piano.’3 Maury Crane reports that
Underwood caught Stan Finn, clarinet and saxophone professor in the fifties,
playing jazz at Jacobson’s store. (Personal interview). When Owen Reed
became acting Department Head in 1957, after the death of Weldon Hart, the
first jazz performances in the Music Auditorium were held.

Walter Hodgson, department head from 1958 to 1963, hoping that
attitudes toward jazz had softened, brought M. E. (Gene) Hall, a saxophone
player, to MSU in 1959 to establish a jazz program. Hall had BM and MM

degrees from North Texas State College and a DME degree from New York

fiischer told this story at a concert he gave in the Music Auditorium in 1997.
123

 

University. As a friend of Stan Kenton, Hall also directed the Stan Kenton Stage
Band Camp, a two week summer camp for lovers of jazz, which was held for
three years. This clinic brought jazz musicians to East Lansing, and some
stayed on to earn degrees.

The first course offerings were given under disguised names: “Music
Arranging for Mass Media” and the “Television Orchestra.” Hall’s work at MSU
was designed to fill the gap between formal music training in both performance
and composition, and the commercial music field (Paul, 1979, p. 308). WKAR-
TV sponsored an unofficial group led by Gene Hall. The atmosphere toward
jazz was still unfriendly, so Hall left in 1962. Graduate students took over the
newly formed jazz bands. George West led the MSU Jazz Band #1 to a first
prize at the Notre Dame Jazz Festival in the 1960’s, and the jazz band became
quite famous. Other graduate students who led the program included Bruce
Early, Eddie Meadows, Burgess Gardner, Charles Ruggiero, and Ronald
Newman.

Owen Reed gives the “Geriatric Six plus One” credit for helping legitimize
jazz on campus. Started by Maurice Crane, Distinguished Professor of English
and later head of the Voice Library, its original job was to play at a Faculty Club
(now University Club) Roaring Twenties Party. Crane came to teach at MSC in
1953 and became faculty advisor to the Jazz Society of West Circle Drive. This
group consisted of students who liked to play and listen to jazz. Thus Crane was
noted for his love of jazz. When asked to put a group together to provide
entertainment for the party in 1970, he asked H. Owen Reed, Distinguished
Professor of Music, to play piano and Bennett Sandefur, an assistant dean of
Natural Science, to play banjo. Crane would play clarinet. Marshall McNutt

played trumpet, Dick Haggerty played trombone, and Owen Brainard, a painter,

124

 

played drums. Dick Haggerty was an engineer from Detroit, but was the only
trombone player Crane knew, so he invited Haggerty and his, wife up for the
weekend. McNutt was a Hollywood trumpet player who was serving his church
by advising Asher House, an alternative living arrangement for Christian -
Science men, for a couple of years. The audience so loved the band, that when
the hired dance band, led by Bruce Early, came back from their break, they
wanted Crane’s band to keep playing, so the two bands joined and played
Dixieland jazz for the rest of the evening. After that, people kept asking when
they would play again. (Personal interview with Maury Crane.)

Bill Faunce, Chairman of Sociology, joined the group and still plays
trumpet. Waldo Keller, dean of Veterinary Medicine, who performed the first eye
surgery on a Bengal tiger, played fluegelhom, and Don Thomburg, an
Oldsmobile executive, played trombone. Because Bennett Sandefur and Owen
Reed were 70 and 65 respectively in 1970, Crane named the group “The
Geriatric Six.” The “Plus One” was Thomburg, who was the only non-faculty
member, though he had two degrees from MSU. He had also played jazz with
Ralph Martieri and Stan Kenton and played at two Rose Bowls. Robert Sidnell,
Music Education professor and Chair, played piano, bass, and trombone in the
group during his years at MSU. Thomburg also played bass, so he and Sidnell
would trade off. Milt Powell played piano after Owen Reed retired. The current
band includes Maury Crane, Bill Faunce, Waldo Keller, Don Thomburg, plus
Jim Smith on bass.

Not only has the group furnished entertainment for many university social
functions, it also established an annual jazz composition award by
commissioning works for the MSU Jazz Ensemble. Clare Fischer, BM, 1951,

and MM, 1955, won the first award. His work, “Canonic Passacaglia, Blues,

125

 

and Vamp ‘Trl Ready,” was premiered at the 1975 winter commencement by the
MSU Jazz Ensemble conducted by Fischer. This was the first time a jazz group
had ever performed at commencement here. President Clifton R. Wharton then
presented the Distinguished Alumni Award to Fischer. In 1999 Fischer was
awarded an honorary doctorate of fine arts as well.

The “Geriatric Six Plus One” also gives money to charity, to MSU jazz,
and the Lansing Symphony. They have played before home football games for
twenty five years, play at the MSU Football Coaches Christmas Party and the
MSU Hockey Bust, among other engagements. They have played at bowl

 

games and for the retum up the Grand River of a pair of men who had canoed
around the world. (Personal interview with Maurice Crane). Their enthusiasm
and joy has certainly been contagious around the campus. (End of Crane
Interview.)

In 1971 Charles H. Ruggiero came to MSU to work on his Master of
Music and Doctor of Philosophy degrees. When Paul Harder, head of Theory,
resigned to accept a new position in 1973, Ruggiero took his place. Ruggiero
was a jazz drummer and very interested in jazz. After becoming an instructor in
1974 he offered a course in improvisation and organized an improvisation
ensemble (Paul, p. 309). The last graduate assistant was Ron Newman, who
led the jazz program while finishing his PhD in composition. In his second year,
the MSU Jazz Band I won the Outstanding Band Award at the 1979 Ohio State

Jazz Festival.

126

 

 

 

 

 

 

 

Figure 24. Newman's award-winning jazz band. Picture courtesy of Joe Lulloff.
Diem

Corliss Arnold, organ teacher at MSU from 1959 to 1991, was the
youngest person to receive the Doctor of Sacred Music degree from Union
Theological Seminary. In 1956, he won a Fulbright Scholarship to study organ
with Andre Marchal and Nadia Boulanger. He authored Organ Literature: A
Comprehensive Survey, and had three professional certificates from the
American Guild of Organists (AGO). In 1982 he passed his AGO exam with the
highest grade in the nation (Music Notes, 1991, p. 10). He also was director of a
Church Music Workshop held in the summer for twenty years.

Arnold tells about Peoples Church, which suffered a devasting fire in
February, 1965. The fire started in the wiring under the organ console and choir

loft. The church had to have services for a year and a half in the State Theater

127

spa—m —-——q

 

on Abbott Road. Organ students had their lessons alternating one week on the

two-manual practice pipe organ in the Music Building on campus, and the next

week at St. Paul’s Episcopal Church. A new three-manual Schlicker pipe organ
was installed in Peoples Church in 1967.

Arnold was able to teach on the new organ at Peoples Church but
realized how much better it would be for the university to have its own pipe
organ. The story continues in Amold’s own words:

For several years I wrote letters and spoke to various individuals
in the greater Lansing area to see if I could find someone who
cared enough about organ music and organ study to help provide
a pipe organ for the university--all to no avail. Finally someone
suggested to me that the then-director of the MSU Museum had
been successful in getting gifts for the museum and that perhaps I
should talk to him about how to go about getting such a gift... . I
did this and he suggested that I contact alumni groups or the

university Development Fund.

At that time Mr. Robert Shackelton was the moving spirit in the
MSU alumni organization. Mr. Shackelton was a friend of mine
and a member of Peoples Church, where l was the Director of
Music and Organist. He heard my plea sympathetically and
proposed that I write up my request to be submitted to the alumni
governing board. I did so promptly in the hope that the board
would provide the necessary funds from monies which had been

given for unspecified purposes.

128

 

“an-...nws “-..a—um

 

Late in the afternoon of the day when my request had been
presented to the alumni board, I went to Bob Shackleton’s office to
get the verdict. He told me that the board did not approve my
request but he did introduce me to Mr. Ernest Hart, a 1914
graduate of MAC and the president of the alumni organization
that year. Mr. Shackelton happened to mention also that Mrs. Hart
was an organist. l was deeply disappointed but not completely

discouraged from pursuing my goal.

About two weeks after meeting Mr. Hart I wrote him a letter asking
if he personally might be interested in providing funds for a
university organ. Several weeks later I received a very pleasant
note from Mr. Hart in Florida where the Harts were vacationing. He
wrote that the Harts would soon come to Michigan State to discuss

the possibility of supporting the pipe organ project.

I was elated finally to find someone who would at least listen to
this dream for the university . When the Harts arrived in May of that
year, I took them to the little practice room where the small
Schlicker was used for teaching and played it for them. Tire sound
was nearly overwhelming for such a small room and made a
strong impression on the Harts who readily agreed that a large
pipe organ in a suitable environment was sorely needed. I
explained that I had to hold organ classes in that same small room
with several students seated up on the console(!), on the

organ bench with me, and even on the floor. This made the need

more obvious. Soon after the Harts wrote me and Dr. James
129

 

 

Niblock, the chairman of the music department at that time, that
they were willing to donate $50,000 toward the purchase of a
large pipe organ if the university would provide the amount
needed to complete the instrument planned. The university

officials agreed to do this.

At that same time the Music Department was planning the building
of the present Music Practice Building, a five-story building for
offices, studios and classrooms. I had hoped to get the new organ
installed in an auditorium in the new facility, but there seemed to

be no adequate space for such an instrument. Dr. Niblock

Hui A‘IA-A —.1_-fl

informed me that the only space available for this purpose was the
large choral rehearsal room at the end of the west corridor of the
Music Building. Once again I was disappointed but acquiesced
because “something was better than nothing.” The room has
turned out to be much better for our purposes than I thought it

would be... .

130

“will llll'w

Ill tr. ll: Iii.”

rrllrufi'

if

 

Figure 25. Corliss Arnold and the Harts at the dedication of the organ.
Picture courtesy of University Archives.
Strings and Orchestra

By 1957 the string division was large enough to require a full-time
orchestra director. Hans Lampl accepted the position in 1958 to conduct the
orchestra and direct an opera workshop. He had been assistant conductor of
the Chicago Symphony. In the fall of 1958 the orchestra played for a special
concert of works by Mario Castelnuovo-Tedesco, distinguished visiting
professor at MSU. When Lampl resigned in 1963, Gomer Llewellyn Jones took
over until Dennis Burkh, assistant conductor of the La Scala Opera in Milan,
was hired in 1966.

Burkh continued to conduct in Europe while serving MSU. He
established an lntemational Festival and brought famous conductors and

soloists to campus in 1972-73. This lasted four years and brought many

131

 

 

musicians of note to campus.
“AS I REMEMBER” by Lyman Bodman, October, 1995, continues to
discuss the Beaumont String Quartet:
When James Niblock became chairman of the Music Department,
Theodore Johnson took his place in the quartet. “T ed,” with a
doctorate in violin from the University of Michigan was with the
quartet until my retirement from it. During those years we did some

of our most exciting performing, including a tour of Puerto Rico.

The Beaumont often played chamber works with other instruments.
We did piano quartets and quintets with Ernst Victor Wolff, Ralph
Votapek, Henry Harris, and Joseph Evans. There were chamber
works with harp, clarinet, flute, and horn, including octets and

septets.

With the retirement of Romeo Tata, the quartet had a few more
very good years led by Walter Verdehr. The coming of the Juilliard
String Quartet and their residency of ten years began a new
chapter. Those ten years were rich ones, and their influence was
very great. That is another story.

In 1968 James Niblock brought Walter Verdehr from Juilliard to the
faculty. Verdehr had been a Fulbright Scholar in Vienna as well as a graduate
of Juilliard School of Music with a BM in 1964 and a MS in 1965. He was in the
first year of his DMA program, studying with Ivan Galamian. He was tired of
being a student but wanted to finish his degree, so Niblock allowed him to

commute to New York once a week until he finished. (Personal interview.)

132

Verdehr became the first violin of the Beaumont String Quartet with Ted
Johnson as second violin, Bodman as viola, and Louis Potter as cello. By the
1975-76 school year Potter felt that he could no longer play, and Lyman
Bodman stopped a couple of years later. Johnson then became violist, and
Catherine Tait played violin II for a short while. Peter Rejto became cellist in the
quartet. He was the son of Gabor Rejto, a teacher with whom Walter Verdehr
had studied chamber music. Ron Copes, now second violin of the Juilliard
String Quartet, played for a while. Diane Monroe, a black violinist, substituted at
violin ll while working on her masters degree. Rejto and Copes left MSU in
1977, and their positions were filled by Owen Carman, 1977, cello, and I Fu

Wang, 1980, violin.

Uh ...Ls ‘~ 1.: mt—‘lachq
I .

W

The Verdehrs explored the literature for violin and clarinet and
discovered that little music had been written for the combination. Since they
both enjoyed chamber music they began the Verdehr Trio in 1972 with David
Renner as pianist, Walter Verdehr as violinist, and Elsa Ludewig-Verdehr as
clarinetist. A few years later Elsa Verdehr asked Jere Hutcheson, MSU
composer, to write a piece for the trio and l-Iutcheson responded with Nocturnes
of the Inferno. James Niblock wrote the next piece. John MacKinnon played
piano, followed by Deborah Moriarty until 1979.

fireman

The story of Leon Gregorian coming to Michigan State has already been
told. He came to the campus as a piano major to study with Luboschutz and
Nemenoff, whom he had read about in Musical America. Since both his father
and grandfather were conductors, conducting was always in the back of his

mind, but opportunities to conduct were limited, and MSU, like many colleges at

133

that time, had no conducting program at all. Dennis Burkh, the new orchestra
director, and Gregorian both arrived at Michigan State in 1966. Burkh was
working very hard to build the orchestra and decided he needed help.
Gregorian auditioned to be assistant conductor, conducting the last movement
of Dvorak’s Eighth Symphony, and won the job. It undoubtedly helped that he
had been a conducting fellow at Tanglewood the summer before.

The performance ensembles at MSU were fewer than today. Leonard
Falcone had one concert band, Burkh inherited one orchestra, and there were
four choruses: Richard Klausli’s State Singers, Ethel Arrneling’s Women’s Glee,
J. Loren Jones’ Men’s Glee, and Gomer Jones’ University Chorus. Burkh started
a Chamber Orchestra of the very best players who rehearsed at night and
played in the Music Auditorium.

According to Gregorian, Fairchild Auditorium was hard to play in.
Audiences complained of dead spots and echoes. The echo characteristic
meant that some on stage and some in the audience would hear everything
twice. The Main Auditorium also had peculiar acoustics. When the orchestra
played on stage, the audience could not hear the music well, so they played on
the floor, with the audience sitting very close. Burkh preferred to play in
Fairchild.

Gregorian was on campus when the old practice building was torn down,
and for two years, some faculty offices, including his, were in quonset huts on
the site of what is now the Breslin Center. He had a half-time assistantship
teaching piano, and played timpani in the band under Harry Begian and in the
orchestra under Dennis Burkh. Gregorian had taught himself to play timpani in
high school and found at MSU that he was needed to play because he could

tune them. He also accompanied Robert Harris’ Chorale and did sectionals for

134

Gomer Jones. He especially enjoyed accompanying Elsa Verdehr’s students.
(Personal interview.)

Gregorian’s favorite academic teachers were Richard Klausli and Gomer
Jones. Klausli made students work hard in music history classes, where they
had to make presentations both talking about the material and playing it. If one
could not find a harpsichord, he was expected to put tissue paper in a piano to
make it sound like one. “No one knew fugues like Gomer,” said Gregorian. “He
could play four parts and sing a fifth.” Both men knew their topics and cared
about their students.

Gregorian said he owes a debt of gratitude to James Niblock, who wrote
letters to his draft board every year, stating he was needed at Michigan State.
Thus he missed the Vietnam War. Gregorian also feels that the work the
graduate students did interviewing guest performers about the facilities was
important to the ultimate construction of Wharton Center. Every year the music
graduate students took the performers’ complaints directly to Jack Breslin, who
was then Secretary of the University. When Gregorian left in 1973, the
performing arts center was on the building priority list. Clifton Wharton was
President of MSU at that time, and his wife was very interested in the arts.
Wharton was on the Board of Directors of a number of organizations, and he
gave his salary from each to the Wharton Center Fund, according to Gregorian.
In 1982 when Gregorian interviewed for the orchestra position, Wharton Center
was becoming a reality. Wearing a hard hat, he was taken to the construction.

W

In 1964 Theodore Johnson was hired as a member of the theory faculty

and also to play violin in the Beaumont String Quartet. He received a DMA from

the University of Michigan and was a Fulbright scholar in Germany. He served

135

as chair of Music Theory at MSU, Concertmaster of the Grand Rapids
Symphony, Concertmaster and Principal Violist of the Greater Lansing
Symphony, as well as playing with the Beaumont String Quartet. Johnson felt
that he had served on the graduate committees of the most students. He died
in 2003.

In 1965 Jere Hutcheson was added to the theory faculty, after receiving
his PhD in Composition from Michigan State, where he studied with Owen
Reed. He has received numerous awards, fellowships and grants for more than
a hundred compositions. He has also written a two volume theory text, MusicaL
W. Hutcheson was named Distinguished Composer of the Year
by the Music Teachers National Association in 1976.

Hutcheson graduated from Stetson University in Florida and then went to
Louisiana State University (LSU) for his master’s. There he studied with Helen
Gunderson, who had been president of the Music Teachers National
Association (MTNA). Gunderson had also taught Owen Reed. Hutcheson
applied for assistantships at Indiana, Michgan State, and University of
Michigan, and received offers from Indiana and MSU. Since Gunderson had
recommended Owen Reed originally, Hutcheson decided to attend MSU. On
June 15, 1964, he and his wife arrived in East Lansing with their mobile home,
which also housed their seven foot grand piano.

Hutcheson believes that Paul Harder was an excellent teacher for
graduate students. In the 1960’s the University had an Educational
Development Program that gave grants to encourage professors to devise new
ways to cope with the great influx of students. Harder wrote a series of
programmed texts on fundamentals of music, which replaced Owen Reed’s

books and were used extensively by colleges in the sixties and seventies.

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Hutcheson wrote two books on form in music. A revised version of this text is still
in print. While writing the original books, Hutcheson gave up composition for
four years.

Hutcheson believes that Russell Friedewald was a good teacher, but he
was not supportive of programmed instruction. Owen Reed’s orchestration
classes were his best. Reed had studied orchestration with Howard Hanson at
Eastman. Reed’s graduate seminars tended to be improvised. As a composer,
Hutcheson views the ensemble directors over the years in terms of whether or
not they were supportive of contemporary composition. He feels that Richard
Klausli was, but Gomer Jones was not, which is interesting, since Jones was a
composer. Leonard Falcone performed Hutcheson’s Sensations for Symphonic
Band and Audience, an interactive piece where the band walked around and
the audience participated. Ken Bloomquist and Eugene Corporon also
performed it. Hutcheson believes that the recent instrumental ensemble
directors have been very supportive, but that choral directors have not (as of
2002)

Hutcheson has seen the theory area led by Paul Harder, Russell
Friedewald, Ted Johnson, Charles Ruggiero, and Gordon Sly. Ruggiero was
very democratic and kept the area busy revising courses to meet the needs of
the students. There are more courses at the graduate level than teachers, so
courses have to be rotated. Ruggiero resigned as chairman of theory in 2001
and was replaced by Gordon Sly. Ruggiero teaches theory, composition, and
used to teach jazz. Mark Sullivan works in composition and teaches students
how to compose with computers. Hutcheson teaches composition and scoring
for orchestra and band.

Charles Ruggiero came to MSU in 1971 to work on his MM and doctoral

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degrees after graduating from the New England Conservatory. He had taught
percussion for two years at the Weston School of Music and one year at the
University of Bridgport. H. Owen Reed, head of Composition, called and offered
Ruggiero an assistantship with WKAR-TV, working with Don Pash. Pash
planned and produced musical programs, giving Ruggiero an insight into both
artistry and technology. Pash was dedicated to classical music and produced a
program every other week. They worked in quonset huts on South Campus,
which provided very poor accommodations.

Ruggiero’s most influential teachers were H. Owen Reed, Theodore
Johnson, Richard Klausli, and Russell Friedewald. He thought that there was a
strong jazz program at MSU, since he had heard the MSU jazz band at the
Villanova Jazz Festival, but the jazz faculty were gone when Ruggiero enrolled.
Graduate students had taken over the program, which had nose-dived in
quality, and jazz classes had evaporated. Ruggiero complained about this to
James Niblock, Department Head. When Paul Harder left in 1973, Niblock
offered Ruggiero a job: to run the jazz program and teach theory.

In his first year Ruggiero taught 260 students in his Basic Harmony class,
directed two jazz bands and taught classes in improvisation, arranging, and
theory, as well as being a student himself. He also wrote a lot of arrangements.
Exhausted, he went back to Niblock with the idea that he wanted to oversee the
jazz program, but needed help. He became the director of the New Music
Ensemble (1973-74) and Improvisation Ensemble (1974-79) and faculty
coordinator for jazz. Ronald Newman eventually became his graduate
assistant.

During this time Ruggiero advocated for a jazz faculty. Kenneth

Bloomquist was in agreement and support for jazz was part of his platform when

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he ran for chair of the music department. In 1979 Ronald Newman was
appointed the first Director of Jazz Bands.

When Ronald Newman came to MSU in 1970, Bruce Early was the
graduate assistant responsible for jazz. Early’s influence on Newman led him to
transfer to North Texas State University after two years for more exposure to
jazz. Newman majored in Music Education, planning to be a junior high band
director. Though he almost decided to stay in Texas, Jere Hutcheson urged him
to return to MSU for his MM and DMA degrees.

As an undergraduate at State, Newman’s major influences were David
Renner, his piano teacher; Richard Klausli, teaching music history; and Jere
Hutcheson, his theory teacher. Newman returned to MSU in 1975 to begin
graduate work in music composition. He originally held an assistantship in
music theory and also one at WKAR-TV, where he worked with Don Pash in
producing fine arts programming. His first TV show was with Vladimir Viardo, a
winner of the Van Clibum piano competition. Newman described the
experience as “very intense.” Since that time he has staged the Spartan
Spectacular in the fall.

Newman began work on his PhD in Composition in 1977, and also took
over the direction of the basketball pep band and the jazz band. In 1978 the
jazz ensemble received the “Outstanding Band” award at the Ohio State Jazz
Festival.

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Choral music during the 1960s and 1970s continued to be strong. The
top student group was the State Singers, conducted by Richard Klausli until
1968. Harold Brown conducted them for the next two years, when Robert A.

Harris took over until 1977. During his tenure, Harris took the top musicians

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from State Singers to start an elite Chorale. The Chorale is still the elite choral
group. Ethel Anneling directed the Women’s Glee Club from 1951 until 1978.
Men’s Glee Club was directed by Edward Richmond from 1955 until 1960,
Gordon Flood from 1960 to 1962, and then J. Loren Jones from 1962 to 1966. J.
Loren Jones started the Singing Statesmen as an elite spin-off from Men’s Glee
in 1963. At one time Men’s Glee Club was called the Singing Statesmen, but
the group is now known by its original name. Gomer Llywellyn Jones began the
University Chorus, utilizing faculty, students, and community in 1948. Jones
conducted the group until his retirement in 1977, performing major works with
orchestra. Klausli, Armeling, and Gomer Jones were all major influences in the
lives of their students.

T -7

In 1956, MSU hired Robert Unkefer, Registered Music Therapist (RMT).
Unkefer had graduated from the University of Kansas’ graduate program in
music therapy and also had five years of clinical practice. Under Unkefer’s
leadership, a master’s degree program was approved in 1968, and an on-
campus Music Therapy Clinic was opened in the new Music Practice Building in
1969. '

Unkefer’s first appointment was a joint one in both the Music and
Psychology Departments. He taught Pyschology of Music and The Influence of
Music on Behavior in the Music Department. Department Head Roy Underwood
had been requesting a psychologist for the therapy program for many years. As
Unkefer’s duties increased, George Duerkson was hired in 1965 to teach the
two Psychology of Music courses and to conduct research. He was interested in
how music influenced human behavior. Duerkson assisted Unkefer in

designing the music research facility and the on-campus Music Therapy Clinic.

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Before the clinic, students had taken field trips to gain practical experience.

When Duerkson left to become chair of Music Education and Therapy at
the University of Kansas in 1969, Dale Bartlett was hired. Bartlett had a BM and
MM in Music Education from MSU and a PhD from the University of Kansas.
Bartlett taught Psychology of Music and Acoustics and supervised research,
especially studies using the MusicTherapy Clinic equipment. He also did some
choral conducting and was affiliated with music education. He retired in 1996.

In 1977 Roger Smeltekop was added as a second RMT faculty member
to expand therapy offerings and clinical experience. Smeltekop had earned a
joint therapy-music education degree offered at MSU while he was a student.
He also had clinical experience. In the late sixties, emphasis had shifted to
treatment in community based facilities for mental patients, rather than care in
hospitals. This factor meant that a different sort of training was required, so more
curricular and clinical experiences were necessary. Until then, training in music
therapy education occurred in the senior year. Smeltekop added an
introductory sophomore course and two junior courses.

In the 19603, parents of students with special needs discovered that
when their children passed school age, services and social opportunities were
much fewer. A group of parents discussed this with Professor Robert Unkefer,
and together they started a bi-weekly program of dance and chorus in the
evening at the All Saints Episcopal Church in East Lansing. Music therapy
faculty and students shared in the leading of singing and dancing, and parents
of the handicappers provided refreshments and maintained a communication
network. This program is still in existence in 2003.

Since 1969, the Music Therapy Clinic in the Music Practice Building has

provided services for residents of the Greater Lansing community who have

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special needs. Student therapists, supervised by faculty members and graduate
students who are board-certified therapists, work with clients of all ages who
have special needs, in individual and group settings, as an important part of
their training. Referrals for these services are received from parents, the client
him/herself, special educators, physicians, activity therapists, and other
clinicians from the surrounding area, and contact is maintained to coordinate
the music therapy treatment with the services and goals of the other caregivers.
(lnfonnation from “The MSU Music Therapy Program” by Roger Smeltekop.)
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The music department was very active during the summers of the years
between 1957 and the early 19808. The Summer Youth Music program
continued to attract musical youth.

During Robert Erbes’ administration, 1972-76, about three hundred
students per year attended one or both of two two-week sessions. Offerings
included band, jazz band, chorus, both string and full orchestra, piano, organ,
theory and history classes, private lessons for a fee, sectionals, a recital night
and two concerts, plus social activities on evenings and weekends. The
conductors were highly respected high school directors. Lessons, sectionals,
theory and history were taught by MSU faculty and graduate students, a staff of
about fifty in all. James Niblock, music department head at that time, called the
program the department’s most significant recruiting and public relations
vehicle (Niblock, Music Department Annual Report, 1969, p. 4).

Erbes also mentioned outreach for teachers. In the 1980-81 academic
year, 37 off-campus classes and workshops were held, in Alma, Dearbom,
Birmingham, Grand Rapids, and at Blue Lakes Fine Arts Camp, as well as East

Lansing. Having composer Mario Castelnuovo—Tedesco from Brazil on campus

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during the 1959-60 school year as Distinguished Visiting Professor and having
the two-piano team of Luboschutz and Nemenoff on campus from 1962 to 1968
brought increased recognition to the university. All of these people arrived
during the administration of Walter Hodgson. Other examples are The Juilliard
String Quartet and Music for Children program.
MW

Those teaching music history during those years were Gomer Ll. Jones
(1938-77), J. Murray Barbour (1939-65), Hans Nathan (1946-81), and Richard
Klausli (1947-79). From 1977 to 1979 Kazadi wa Mukuna from Africa taught
ethnomusicology. In 1977 Dale Bonge joined the faculty.

Elam

Joseph Evans (1941-84), John Shelby Richardson (1945-81), Virginia
Bodman (1946-84), Ernst Victor Wolff (1947-60), and Henry Harris (1954-65)
were the piano faculty at the beginning of this time period. Silvio Scionti (1960-
62) came when Ernst Victor Wolff died. Luboschutz and Nemenoff (1962-68),
David Renner (1965-74), and Mildred Zimmerman (1966-75) came later. On the
retirement of Scionti at age 81, Walter Hodgson arranged to have Pierre
Luboschutz and his wife, Genia Nemenoff , come as artists-in-residence. They
were known as the “deans of two-piano teams” (Paul, p.237). They decided to
be a duo team because they rarely saw each other when they were concertizing
singly.

David Renner came from Eastman School of Music and was also a
Fulbright Scholar. He was the first pianist with the Verdehr Trio. James Niblock
selected Ralph Votapek, winner of the Van Clibum lntemational Quadrennial
Competition in 1962, as the artist to replace Luboschutz and Nemenoff. Votapek

graduated from Northwestern in 1960, earned his MM degree from the

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Manhattan School of Music in 1961, won several other competitions, and
continued studying at the Juilliard School of Music. Votapek recorded his first
solo record album in 1978. Wendell Westcott (1935-78), the University
Carilloneur, also taught piano. The first MSU piano technicians were hired:
Charles W. Stevens (1957-60), followed by Owen Jorgensen (1960-94), who
also started a department of piano tuning and repair in 1981 ,through which
students could graduate with a degree in piano technology
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Keith Stein taught clarinet from 1934 to 1975, with help from Stanley
Finn, (1953-61), who also taught saxophone. Elsa Ludewig came in 1962. Paul
Harder taught oboe from 1945-61, as well as theory, followed by Peter Hedrick
(1961-63) and Daniel Stolper (1963-2001).

Stolper received his MM from Eastman School of Music, and played in
several orchestras before coming to MSU. He was appointed to the National
Endowment for the Arts (NEA) as a consultant to music programs. He has been
named five times, more than any other teacher, as one of the “most
distinguished” teachers in the arts by the Department of Education Commission
on Presidential Scholars (Music Notes, 2001, p.20). .

When Russell Friedewald (1948-85) stopped teaching flute to devote
himself full time to theory in 1965, he was replaced by Ramona Dahlberg (1965-
66), then Alexander Murray (1966-74) and Israel Borouchoff (1974-92). Edgar
Kirk taught bassoon from 1948-90. All of these except Finn played in the
Richards Woodwind Quintet. When Keith Stein retired in 1975, Fred Orrnond
(1975-82) taught clarinet with Elsa Ludewig-Verdehr.

Keith Stein came to MSC in 1934, after a career as clarinetist with the

Chicago Symphony. Though Stanley Finn helped with clarinets and

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saxophones in the fifties, he left in 1961. By 1960 Stein was suffering from
arthritis and asked that his work load be reduced and a clarinetist hired to help
him. In 1962 Walter Hodgson hired Elsa Ludewig for a one year appointment
while Keith Stein was on sabbatical. She came from Oberlin College and
Eastman School of Music, where she had played in the Eastman Wind
Ensemble and Eastman Philharrnonia. In 1963 James Niblock hired her on a
regular three year appointment. Elsa Ludewig-Verdehr and Keith Stein taught
together for thirteen years. She took Stein’s place in the Richards Woodwind
Quintet. Walter Verdehr was hired by James Niblock in 1968, and Walter and
Elsa were married in 1971. Soon after they formed the Verdehr Trio.

In 1970, the Lansing State Journal published a list of faculty salaries, and
Elsa Verdehr realized that women were being paid less than the men. Ethel
Armeling, Virginia Bodman, Bea Mangino, Martha White and Leona Witter were
all in the same situation. Elsa Verdehr wrote a five page letter to the President of
the University, outlining the inequalities between men and women faculty in the
music department.

Walter Verdehr was on the Advisory Committee at that time, and they
were newly married, so he jokingly suggested that she sign her maiden name.
The President referred the letter to the Provost, who replied. Elsa Verdehr did
not feel the reply really addressed the issue, so she wrote back and sent a
carbon copy to each of the Trustees. Trustee Pat Carrigan took the part of the
women faculty and the policy was changed, with women’s salaries equaling
those of the men. Since that time, Elsa Verdehr does not feel that there has
been discrimination against women in the music department.

Elsa Verdehr notes a number of changes in the department over the

years. Because there were not so many concerts in those earlier days, the

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school faculty recitals and and concerts were much more important and far
better attended. There is not as much socializing between faculty members,
because in the Verdehr's case, as well as others, they are often away on tour.
They also spend at least an hour a day answering e-mail, and the paperwork
generated by the School of Music, College of Arts and Letters, and the
University, which is much more than in earlier years. In the old days promotion
of faculty happened every six years if you were doing your job well. Now one
must apply for promotion and justify it, and even that does not guarantee
promotion.

On a brighter note, she feels the caliber of students has risen
considerably. Her best students were always good, but now all of her students
are “best students.” At present most of her students are graduate students. She
used to make sure that each student played the Neilsen Clarinet Concerto
before graduating; now they often come already knowing the piece.

Email-1.8)

Byron Autrey (1953-90), trumpet, Douglas Campbell (1946-90),
French horn, and Leonard Falcone (1927-67), low brass, were joined by Merrill
Sherbum, (1957-82), trombone and theory, and Curtis Olson (1976-the
present), trombone. Falcone continued to teach euphonium students as an
Emeritus Professor until 1983, thus extending his career at Michigan State to 56
years. Walter Verdehr remembers him coming to school in a taxi when he could
no longer drive. (Personal interview with Walter Verdehr.) Curtis Olson
organized a Trombone Seminar in 1978, and the tenth annual workshop of the
lntemational Horn Society was held on campus in June, 1978, organized by

Douglas Campbell.

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W
Ethel Anneling (1950-90) and Gean Greenwell (1952-73) were joined on
the faculty by J. Loren Jones (1962-82), Lois Laverty (1955-59), John Wiles
(1969-73), and Leona Witter (1968-80). Harlan Jennings (1974-the present)
and Paul Benningfield (1974-81) were hired near the end of James Niblock’s
administration.
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Mark Johnson (1972- the present) became the first faculty member with a
full-time appointment to teach percussion. Earlier percussion teachers were
part-time employees paid by the hour. Mark Johnson is timpanist with the
Lansing Symphony and also teaches Integrative Arts and Humanities (IAH) at
MSU.
Mi I
During the years that Robert Sidnell was head of music education, the
School of Education had a requirement that all elementary education majors
take a course in music. Elementary teachers were supposed to be able to
continue what the music teacher did when the music teacher was not there.
According to Suzanne Burton, a graduate student in music education, her
mother had to take this course and hated it. The course was essentially a music

theory course, and eventually this requirement was dropped.

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CHAPTER EIGHT
THE KENNETH BLOOMQUIST ADMINISTRATION (1978-1988)

When Kenneth Bloomquist became Chairman of the Department of
Music on July 1, 1978, he hoped to improve the facilities. The Music Auditorium
and Music Therapy areas were renovated, but there was no additional building.
Bloomquist appointed Ron Newman as the first Director of Jazz Studies, and
added two new administrative positions, Assistant Chair for Graduate Studies
and Assistant Chair for Public Relations. The department became a School of
Music in 1984 and was designated a “Unit of Excellence”, which helped
preserve positions during the economic crisis of the early 1980’s. The Juilliard
String Quartet remained in residence, and a “guest artist budget” was approved
for bringing artists to campus. Music Notes, the magazine of the School of Music
was started, and Wharton Center for the Performing Arts opened in 1982.

The Music Alumni Association was formed during 1978, and Karel Husa
was guest conductor for the third Annual Composers’ Symposium of New Music
for Wind Ensemble and Symphonic Band. Bloomquist had started the
symposium in 1976 and it continued for several more years. Dennis Burkh,
orchestra director, performed the American debut of W, an opera by
Czech composer, Eugen Suchon. The MSU Orchestra was featured at the
Midwestern Conference on School Vocal and Instrumental Music in Ann Arbor
in 1979.

In the spring of 1979 a new degree program was instituted in Piano
Technology, headed by Owen Jorgenson. Richard Klausli died suddenly of a
heart attack three days after the beginning of fall semester 1979. Professors

Emeritus Keith Stein died in 1980 and Gean Greenwell in 1982.

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Stanley DeRusha was appointed the seventh Director of Bands, with
responsibilities for the Symphony Band and Wind Symphony. Thad Hegerburg
resigned and Carl Chevallard became Associate Director of Bands and Director
of the Spartan Marching Band. Hegerburg became a professional musical
arranger. Chevallard resigned in 1979 to become Director of Bands at San
Jose State University, and Dave Catron returned to resume his post as
Associate Director of Bands and Director of the Spartan Marching Band.

When Catron returned, he changed the look of the Flag Corps, using all
women for the first time. Catron kept the band’s tradition of excellence: respect
for old traditions with a quest for innovations and spirited showmanship
(Encore, Vol. 28, No. 2, p. 3).“ The band expanded to nearly 300 members, and
they used new marching techniques and more drum corps techniques.

in 1982, William Wiedrich, a former band president and manager, was
appointed Assistant Director of Bands. Wiedrich helped with drilling, charting
shows and arranging music. The band’s “rotation rhombus” drill and many
variations of entire geometric and curvilinear forms were introduced. The use of
contrast colors was also exploited (Encore, p.3). In the summer of 1984, 25
members of the Spartan Marching Band performed at the New Orleans World’s
Fair, and that fall the whole band presented a pre-game show in Detroit’sTrger
Stadium for Game Three of the World Series.

John Madden, current director of the Spartan Marching Band, was a
student during these years. Despite playing in the University of Michigan Youth
Band while in high school, Madden enrolled at Michigan State, as did all his
siblings. Madden played lead trumpet in the jazz band while majoring in music

education. Byron Autrey and Robert Erbes were his major influences. (Personal

 

“ Encore is the Alumni Band’s Newsletter
149

Interview.)

In 1983 Stanley DeRusha left MSU and Eugene Corporon was named
Director of Bands. Like DeRusha, Corporon was responsible for Symphony
Band and Wind Symphony, and did not direct Marching Band.

In 1984 the Spartan Marching Band accompanied the football team to an
appearance in the inaugural Cherry Bowl in the Pontiac Silverdome. This was
the first bowl game- since the Spartans had gone to the Rose Bowl in 1966.

In the fall of 1984, the Purdue Marching Band came en masse to
Falcone’s house to pay tribute to him. The band was directed by Falcone’s
former assistant, Bill Moffitt (MSU Today).

From the Encore, Vol. 29, no.1, page 3 comes the following paragraph:

In May 1985, the MSU Bands and the world of music suffered a
great loss: Leonard Falcone, Director Emeritus of Bands at MSU,
known as “The Dean of the Big Ten Band Directors,” died. On the
night before his death, a delegation of Spartan Marching Band
members had visited him in the Dimondale nursing home where
he was staying, serenading him with the “Fight Song” and “The

Shadows.”

To the end, Falcone was revered by the Spartan Band, and his
last concert was a touching tribute to him. His funeral service was
attended by former and current MSU band members from across
the nation.
At the funeral, Byron Autrey, the MSU Trombone Quartet, Walter Verdehr
and Deborah Moriarty played; Harlan Jennings, Judith Donakowski, and Waldie

Anderson were cantors, Fritz Stansell and James Niblock read scriptures;

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William Austin and Kenneth Bloomquist gave eulogies and Msgr. James
MacEachin gave the homily. Emeritus Professors Wanda Cook, Joseph Evans,
J. Loren Jones, James Niblock, Louis Potter, H. Owen Reed, and Merrill
Sherbum were greeters, and Dale Bartlett took care of the guest books. Owen
Jorgensen tuned the piano, and the Altar Society of Saint Thomas Aquinas

Parish gave the reception.

IN MEMORIAM

LEONARD V. FALCONE
April 5, 1899 - May 2, 1985

MASS OF THE RESURRECTION
ST. THOMAS AQUINAS CHURCH
THURSDAY. MAY 9, 1985

1:00 9.11:.

Rt. Rev. Msgr. Jerome V. MacEachin
Celebrant

Figure 26. Memorial Service for Leonard Falcone. Picture courtesy of

Kenneth Bloomquist.

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In the summer of 1985, a University appropriation provided new uniforms
for the Spartan Marching Band. The Color Guard also received new uniforms,
allowing them to vary their look according to the music being performed.

The football team went to the All-American Bowl in Birmingham,
Alabama, accompanied by the marching band in its new uniforms. Station
WTBS broadcast the entire halftime show.

In the summer of 1987, Eugene Corporon accepted a position at the
Cincinnati Conservatory, and Kenneth Bloomquist , who was still serving as
Department Chair, again became Director of Bands as well. An American flag,
100 feet long, was purchased after a fund-raising drive by the Spartan Marching
Band Fan Club, the band’s support organization. This was shown to the public
at the first night game played in Spartan Stadium, and it also appeared on
national TV. The football team went to the Rose Bowl for the first time since
1966, again accompanied by the band. As well as performing in the Rose
Parade and the Rose Bowl, the band played at Universal Studios, Disneyland,
Sea World, and the Century Plaza Hotel in Los Angeles.

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Dennis Burkh resigned abruptly in 1982. In 1983 the orchestra had a
different director each term. Frederick Fennell directed in the fall, followed by
Michael Zearott during winter term and Carl St. Clair during spring term. Leon
Gregorian, who had been Burkh’s first graduate assistant in 1966, had eamed
his master’s degree and completed residency requirements for a PhD at
Michigan State. During the summers of 1962 and 1963, while a student at New
England Conservatory, he was a Conducting Fellow at Tanglewood, studying
under Charles Munch, Richard Burgin, and Erich Leinsdorf. From 1971 to 1986,

Gregorian was Music Director and Conductor of the Owensboro Symphony

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Orchestra of Owensboro, Kentucky, as well as being Adjunct or Visiting
Professor at three nearby universities. He joined the MSU faculty as Director of
Orchestra in 1984, thus beginning a new era in orchestral music at Michigan
State.

Mill—(1911M

The Summer Youth Music Program continued until 1987, when dormitory
costs became too great. Staffing was also a problem, since many faculty
members wanted to do other things in the summer. During the 19808 the
program was pared down to one week. A junior high band camp for day
students in the area begun in 1980 was very successful.

The Juilliard and Beaumont String quartets hosted nine high school
string quartets in a full day workshop in both 1978 and 1979. Douglas Campbell
hosted the tenth annual workshop of the lntemational Horn Society in 1978.
This was a week of solo recitals, ensemble recitals, lectures, and master
classes. Curtis Olson organized a trombone seminar the same year.

The Richards Woodwind Quintet toured the Peoples Republic of China in
1984. Members were Edgar Kirk, Douglas Campbell, Daniel Stolper, and Israel
Borouchoff from the group who played at the White House in 1977, plus Frank
Ell, clarinet.

Charles K. Smith’s High School Invitational and Leadership Workshops
and Bea Mangino’s Music for Children program continued through these years.
The Suzuki program and piano pedagogy program were both initiated under
Music for Children. Many high school marching bands came to the campus for
week long practices, culminating with a performance on the Saturday morning
of their departure. The church music festival continued.

In 1985 a Musical Gala was held in Chicago’s Orchestra Hall, sponsored

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by the MSU Alumni Club of Chicago. Ralph and Albertine Votapek, the
Chamber Orchestra led by Leon Gregorian, and 100 voices from Charles K.
Smith’s Chorale and State Singers performed. At a reception after the concert
the Faculty Jazz Trio performed.

In the summer of 1987, Leon Gregorian led a Summer Youth Music
Camp for Strings, and Dave Catron ran the band and chorus camp the following
week. Catron also ran a junior high camp. Workshops for teachers included a
School Jazz Band Workshop, Music in Special Education, Music in Elementary
Education, a Conductors’ Symposium, Percussion Pedagogy and Materials,
Update in String Pedagogy, Recording Techniques for Music Educators,
Computers in School Music, and Orff Methods and Materials. Also in the
summer of 1987, the Michigan Festival, a new performing arts celebration, was
initiated. It was held on campus, and Ralph Votapek, the Greater Lansing
Symphony Orchestra, and Peter, Paul, and Mary were among the performers.

In addition, in September 1987 a workshop on performing contemporary
music was held, followed in October by a Symposium of New Music. Walter
Verdehr hosted a violin festival that year which feted Nathan Milstein,
celebrated violinist. .

An unusual kind of outreach occurred on Homecoming Saturday, 1985,
when Ralph Votapek played Rhapsody in Blue by George Gershwin on the
football field with the marching band during halftime of the football game. That
was probably the largest audience he had played for at one time.

Because the 19803 were a time of economic hardship in the university,
there was not the range of outreach activities seen in the decades before.
Professors got along with limited funds for travel, for hosting conferences, and

for bringing guest artists to MSU.

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Many things have been made possible by the generosity of Catherine
Herrick Cobb. Her fund-raising efforts for Wharton Center resulted in the Great
Hall being named for her. She also donated funds for the organ in Wharton.
Cobb created an endowed fellowship in 1984 to attract graduate students in
performance to MSU from around the world. In 1989, Catherine Herrick Cobb
endowed a Lectureship in Musical Performing Arts of $250,000, to attract
leaders to train talented students for careers in musical performance (Music
Notes ,1996, p.10).

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Douglas Campbell, horn, and Byron Autrey, trumpet, continued to teach,
joined by Curtis Olson, trombone, in 1976 and Philip Sinder, low brass, who
replaced Merrill Sherbum in 1983. In an interview, Curtis Olson, stated that he
could not comment on the music department in general over the years, since he
had been so involved in his own studio. When asked about his studio, he then
talked at length about all the great trombone players who had come over the
years to give recitals and master classes for the benefit of Olson’s students.
Whenever Olson noticed that a famous trombonist would be in Michigan for
something else, he contacted the person or group to arrange for a visit to MSU
as well. He also remembered how much fun they had when Jean-

Pierre Rampal came for a flute master class in the 19805. Olson’s dedication
was rewarded in 2002, when he received the Neill Humfeld Award for
Excellence in Trombone Teaching from the lntemational Trombone Association,
and the Distinguished Alumni Award from Bemidji State University. Former
student Dan Mattson, interim trombone instructor at MSU, organized a
Trombone Day in his honor, and a large group of former students attended.

Olson is now Associate Director of Undergraduate Studies.

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The string department saw the retirements of Lyman and Virginia
Bodman in 1983 and 1984, after almost 40 years of teaching. Walter Verdehr
continued to teach violin and | Fu Wang was hired in1980. Peter Dominguez
replaced Virginia Bodman on string bass in 1980, teaching both classical and
jazz styles. Owen Carman began as cello professor in 1977 on the retirement of
Louis Potter.

The woodwind department consisted of Edgar Kirk, bassoon, Elsa
Ludewig-Verdehr, clarinet, and Daniel Stolper, oboe. Israel Borouchoff, flute,
had joined the faculty in 1974. James Forger, saxophone, began teaching in
1978. Frank Ell replaced Fred Orrnond as clarinet professor in 1982. The piano
faculty was aided by the establishment of a Bachelor's degree in piano
technology, headed by Owen Jorgensen.

W

In the 1980’s a doctoral program in music therapy was offered through
the PhD in Music Education. Students took classes in common, but research
was specific to the individual program. Research conducted by MSU Music
Therapy faculty and students contributes to the growing body of knowledge
about this discipline. Faculty, students, and graduates have a strong tradition of
participation and service in the Music Therapy Association (formerly the
National Association for Music Therapy) at the national level, as well as at the
regional and state level.

W
Judy Kabodian was an organ student of Corliss Arnold from 1978 to

1982 and affords many insights into his influence as a teacher. According to

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Kabodian, Arnold taught her how to be a church musician, which was her
ambition. Amold was her mentor, and a kind of uncle or father figure in a
musical sense. His door was always open, and he made his studio members,
who were very close, feel welcome. He made Kabodian give recitals, totally
memorized, including registration changes He also taught her to make phrases
on the organ. Because organ keys are not touch-sensitive like piano keys, it is
much harder to make a phrase on the organ. Being able to phrase on the organ
helps the organist to become a better pianist.

Kabodian had other insights regarding her career at Michigan State. She
credits Deborah Moriarty, her piano teacher, with being a great teacher, though
Kabodian admits she didn’t practice piano enough. She also loved Ethel
Anneling’s vocal literature classes.

Jun Okada, a free-lance accompanist in the Lansing area, who has a BM
and MM in Piano Performance, also spoke highly of Deborah Moriarty’s
teaching. Okada received the inspiration and knowledge to go into
accompanying from Moriarty. She came from Japan as a high school student
and studied then with Joseph Evans, who had studied with Lewis Richards.

i i -

When Kenneth Bloomquist succeeded James Niblock as head of the
Department of Music, Robert Sidnell left to become a dean at Stephen F. Austin
University in Nacogdoches, Texas. Robert Erbes became chair of music
education. Erbes received his bachelor's and master’s degrees from Northern
Illinois University and his EdD from the University of Illinois. He taught
instrumental music in Illinois for eleven years before coming to MSU in 1971.
His doctoral dissertation, Developing a Rehearsal Interaction Observation

System, served him well as a supervisor of Directed (Student) Teaching. Erbes

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served as chairperson of the music education area from 1978 to 1995 and
administered many programs, including the Summer Youth Music Program, the
Church Music Workshop, Lifelong Education, the Music for Children Program,
and the Directed Teaching Program. Erbes was responsible for the placement,
coordination, and supervision of all student teachers. He taught more than 20
different music education courses during his tenure, and was the author of a
book on teacher certification for MENC. Erbes also made observations in the
public schools a part of all his music education classes. This innovation worked
so well that other music education professors emulated his example. Today,
observation is a part of all music education methods classes.

During these years, the music education department was more heavily
focused on undergraduate education, according to Albert LeBlanc. LeBlanc
taught the graduate research courses that Sidnell had begun, as well as
undergraduate courses. The school also had both campus and off-campus
classes and workshops for music educators held in different parts of the state,
another example of outreach. Albert LeBlanc received his BM and MM degrees
from Louisiana State University and his PhD from the University of Illinois. He
taught instrumental music in Louisiana for five years, and then worked as an
evaluation specialist with the Aesthetic Education program of CEMREL, Inc.
LeBlanc was the third person and one of only eight people to receive MENC’s
Senior Researcher Award up to the present time, according to John Kratus,
current Chair of Music Education. When asked about differences in the school
when he arrived and changes along the way, LeBlanc responded as follows:

Both the band and the choruses were good when he came, but they are
probably even better now. The orchestra has grown and improved

immeasurably. Going hand in hand with this improvement is the growth in

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enrollment of international students. The school has become much more
cosmopolitan.. The international students are better represented in the
performance areas, since these areas are not so dependent on language, but
music education has also had its share.

LeBlanc feels that Kenneth Bloomquist saved the department from cuts
during the recession of the early eighties. Cecil Mackey was President of MSU,
and his wife Clare had two degrees in music, one from MSU, and has always
been a strong music supporter and participant.’5 University departments were
taking cuts everywhere and were often not allowed to replace retirees. The
MSU music department’s retirees were replaced, though slowly.

According to LeBlanc, when Robert Sidnell left and Robert Erbes
became music education chair, music education became much more
democratic. Individual faculty could work together to influence policy and at
times to even create it. Music education was also noted for its efficiency. Paper
work was done on time, office hours were kept at times when students could
come, and the relationship with the rest of the music school greatly improved.
Technology and its use in music education also grew steadily.

LeBlanc felt that during the Erbes years, teaching, especially
undergraduate teaching, was greatly valued. The years were not focused on
national visibility or research, though a lot of other things were accomplished,
greatly improving the organization of the area and its service to the department.

When Erbes arrived at MSU, the undergraduate curriculum had been

eclectic. Students were exposed to many different methods. When the university
was on the quarter system, many electives were available during spring term,
with mini-courses of five to eight students.

When Sidnell left in 1978, the music education faculty wanted to add a

‘5 Clare Mackey also liked to sing with the Geriatric Six plus One, and still sings in Choral Union.
1 59

 

string specialist. The new string person, Melanie Stuart, took over the orchestral
sections of instrumental methods and conducting. She also began the Suzuki
program and helped with graduate courses. Stuart left in 1985, and Judy Palac
was hired to replace her. Until the retirements in the early nineties, the music
education faculty was very stable, with Bea Mangino, Charles McDermid, Albert
LeBlanc, Judy Palac and Robert Erbes at MSU for their entire careers in higher
education.

Relationships between music education and the rest of the music
department had been relatively poor when Erbes became music education
chair. He worked hard to improve matters, and they continued to be good
through Erbes’ tenure. Relationships with the Associate Directors during this
period were also good.

The Big Ten schools had formed an organization called the Committee
on Institutional Cooperation (CIC). Music education faculty and graduate
students would meet once a year to discuss common issues. Many times
meetings were focused on a particular issue, like undergraduate education. The
Society for Music Teacher Education was actually born at MSU during a CIC
meeting. Charles Leonard of the University of Illinois said, “By God, we should
have an organization for people like ourselves! We’re training teachers!”
(Interview with Robert Erbes). At the next national Music Educators National
Conference (MENC) convention an exploratory meeting was held about forming
the group. Erbes was on the Advisory Board of the North Central Division for the
first few years. Charles Leonard never held office but was very influential in the
society. CIC is very helpful for graduate students, allowing them to network.
Besides the Big Ten schools the CIC also includes the University of Notre Dame

and the University of Chicago.

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Robert Sidnell had a high national profile because of his research
interests and training, and because of his book on curriculum. After Albert
LeBlanc was hired, he developed a high national profile as a researcher. Erbes
was not known nationally until his book on teacher certification in the 50 states
was published by MENC. At the state level, Sidnell was very active, since the
state was going through a curriculum process to develop goals and standards,
and implement testing. This is currently being revised. Erbes was involved in
the Michigan Music Educators Asociation (MMEA), giving workshops and
judging Michigan School Band and Orchestra Association (MSBOA) festivals.
He thinks that there has always been a little feeling among public school
teachers in Michigan that some college teachers would give clinics all over the
country except in their own state. Erbes feels that as a land grant college MSU
owes it to the state teachers to be as helpful as possible.

Judy Palac succeeded Melanie Stuart as string education professor and
head of the Suzuki program. Stuart had originally organized the program as a
teacher training program. (It remained that way until the Community Music
School began in 1993.) All the teachers were college students until Linda
Gregorian was hired. There were 8 to15 teachers in each Suzuki training class.
When Stuart left she gave most of her own students to other teachers.

Palac said it was difficult to restart the program, but by the end of the first
year there were about 55 students. Each student takes a private lesson of 20 to
60 minutes once a week, and every Thursday there are compulsory group
lessons. Originally children could start at age 3, but since the inception of CMS
they must have been part of the Early Childhood program and be
recommended in order to start before age five. There is still a teacher training

component to the Suzuki program.

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museum-fl)

Choral directors during the years 1978 to 1988 were Charles K. Smith,
Director of Choral Activities, Steven Michelson, Daniel Russell, and Paul
Schultz. Graduate assistants directed Women’s Glee Club and other smaller
ensembles.

When Charles Smith came from Texas to interview at MSU in March,
1978, the interview was scheduled when Chorale was not meeting. Collegiate
Choir and State Singers each had about 70 singers, but few men. Wandering
around the building the next day, he went to hear Men’s Glee Club, which was
then called The Singing Statesmen. Smith decided that the good male singers
were in Men’s Glee, so he could see hope for building a program.

After he was hired, Smith felt there were not enough men to go around,
so Collegiate Choir was dropped. Instead he formed Chamber Choir, which
was composed of 26 members of State Singers, who were chosen for their
vocal and sight-reading abilities. The group rehearsed one day a week when
State Singers did not meet, and sang repertoire suited for a small ensemble,
generally from the Renaissance or contemporary periods. This group was
conducted by a graduate student in choral conducting. In 1981, Smith
reinstated Collegiate Choir.

Smith hired Paul Schultz from East Lansing High School to direct Men’s
Glee Club, which grew from 16 in the fall of 1978 to about 40 the next fall. After
Schultz left in 1982, graduate assistants directed Men’s Glee Club until Steven
Michelson was hired in 1984. Smith conducted Chorale, State Singers, and
Women’s Glee Club. Three ensembles were too large a teaching load, so
Women’s Glee was also given to graduate students in 1980. Under Smith, the

Chorale was composed of 40 to 55 upper division and graduate students, who

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were primarily voice or conducting majors, though this was not a requirement.

In 1978 Kenneth Bloomquist found that MSU’s performance doctoral
program was out of conformity with common practice in the rest of the nation.
Bloomquist drafted a proposal to change the PhD degree to Doctor of Musical
Arts (DMA) for performance majors. The degree was offered for the first time in
1979-80. Conducting became an approved major for the first time in 1979-80.
Before this time, aspiring conductors had to major in music education with a
minor in conducting.

The new degrees brought many students to MSU in the summer, since it
was possible to eam a master‘s degree in conducting by attending only in the
summer. The summer program offered choir, conducting, and choral seminar,
plus music history and music theory courses, which coordinated well with the
requirements of the new degrees. Doctoral students could come several
summers, and then complete their requirements with a year on campus.

Gomer Jones led a University Chorus composed of students, faculty, and
townspeople from 1948 until his retirement in 1977. This chorus performed
oratorios and other major works with orchestra. Charles Smith began a similar
organization, Choral Union, in 1982 to do major works with orchestra, combined
with Chorale and State Singers. Gustav Meier, director of the Lansing
Symphony, also wanted a chorus to sing with the symphony. Meier and Smith
agreed to collaborate.

Wharton Center opened in the fall of 1982 with the Chicago Symphony,
and eight days after school started, the Lansing Symphony and MSU choruses
presented Mahler‘s Second Symphony, with Gustav Meier conducting. Their
second effort together was a performance of Handel’s Messiah that Christmas,

with Smith conducting.

163

Smith took Chorale, State Singers, and the MSU orchestra to the
regional American Choral Directors Association (ACDA) convention in 1982 to
perform Barber's Prayers of Kierkegaard. The following year some members of
the MSU Wind Symphony, three cellos, one string bass, and one hundred
singers went to Nashville, Tennessee to the national ACDA convention to
perform Stravinsky’s Symphony of Psalms. This was the first time a university
had taken an instrumental group to accompany a chorus at an ACDA national
convenflon.

The above were two of the highlights of Smith’s career at MSU. Others
were conducting the Durufle Requiem with orchestra and chorus in St. Mary’s
Cathedral in Lansing. In 1985 Chorale, State Singers, and the Chamber
Orchestra went to Orchestra Hall in Chicago with Smith, Leon Gregorian, and
Ralph Votapek to perform for the MSU Chicago alumni. The choral portion of
the program was the Bach Magnificat.

In 1980-81, Howard Swan, one of the most famous mid-century choral
conductors, gave Smith the idea of hosting an invitational choral festival. Smith
started this with twelve choirs on campus for a whole day, and Howard Swan
was the clinician fer the first two years. Later Smith found that eight choirs, in
two groups for a half day apiece, worked better. The Leadershop Workshop
started a year later, based on one he had known at Arizona State. Many high
school choirs were invited to bring their section leaders to MSU for the day to
sightread music appropriate for high school choirs. Malecki Music furnished the
choral packets for the workshop. Both these activities made MSU a leader in
choral music and contributed to students enrolling at MSU.

In an interview, Smith also named Kenneth Bloomquist, department

chair, as a factor in the development in the choral program. He considered him

164

a great enabler of choral music even though he was a band director.
“Bloomquist was a good boss,” said Smith. (Personal interview.)

Jonathan Reed first heard the MSU Chorale at the ACDA National
Convention in 1983 when they performed Stravinsky’s Symphony of Psalms
with orchestra. In 1987 Howard Swan, a renowned choral conductor and
Reed’s teacher in California recommended that Reed come to MSU to study
conducting with Charles Smith. Reed started in June 1987, taking Seminar in
Choral Conducting with Smith and Theodore Johnson’s Analytical Studies. He
loved the beauty of the campus.

Kenneth Bloomquist, chair of the School of Music, stepped down as chair
during Reed’s student years, and an election was held for a new chair. Barbara
Ward, Dale Bartlett, and James Forger ran for the position, and Barbara Ward
won. Enrollment in music was comparatively small then, and it was a difficult
time for the School of Music. The years of conservative leadership in
government coupled with the criticism of education and the poor economy
made both music and teaching unpopular occuations. Since students were very
involved in school politics, Reed served on the Student Advisory Committee
and had a role in decision making. Reed found this very interesting and Ieamed
something about understanding administrative pressures.

W

The voice faculty during these years consisted of Ethel Armeling, Harlan
Jennings, Paul Benningfield, J. Loren Jones, and Leona Witter. Jean Herzberg
taught for five years and was replaced by Meredith Zara. Donald Lewsader
replaced Benningfield, and was replaced by Waldie Anderson.

Robert Bracey, then an undergraduate, came from a strong Michigan

State background. Both parents and his older sister were MSU graduates when

165

the Bracey twins entered the university. Both boys were musical, but only Robert
was a music major. He was a choral music education student with a vocal
major, but also played trombone in band and the Spartan Marching Band
(SMB). The SMB had herald trumpets at the time, two students who would climb
to the top of the scoreboard in the stadium to play. Bracey put together a
trombone trio, The Triad, who also performed in high places, like the roof of the
Music Building, among other venues. Bracey wrote their arrangements.

As an undergraduate, Bracey especially enjoyed studying arranging with
Philip Sinder, conducting with Dale Bartlett, and choral techniques with Charles
Smith. Both Smith and Robert Erbes impressed him.

Bracey graduated feeling confident of his teaching abilities and took a
job teaching choral music in Dexter, Michigan. Knowing that eventually he
wanted to teach in college, he took a leave to work on his MM at University of
Michigan, which was very close to Dexter. With an assistantship with the U of M
Men’s Glee Club, he went on to receive his DMA. He was the first graduate
assistant to teach vocal pedagogy. He also taught for twelve summers at the
National Music Camp at lnterloohen, Michigan. (Personal interview.)

W

Due to the interest created by the success of MSU’s Jazz Band I at the
Ohio State Jazz Festival, Chair Kenneth Bloomquist created the position of
Director of Jazz Studies in 1980 and appointed Ron Newman to fill it. In 1984 a
joint position in string bass and jazz bass was created, and Peter Dominguez
was hired to fill that position. Dominguez implemented the visiting minority
faculty program, developed the combo program, and created the Jazz Forum
and Noontimes programs at the Union. Dominguez, Ruggiero, and Newman

formed the Faculty Jazz Trio.

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WWW

By spring of 1989 there were four electronic and computer music studios
and two faculty coordinators. Professor Charles Ruggiero was co-director of the
computer music studios, and Professor Mark Sullivan was director of the
electronic music studios and co-director of the computer music studios. The
Computer Music Studio was a professional quality studio for MIDI managed
digital sound production, used primarily by graduate composition students and
faculty. The Computer Music Laboratory was established by the Office of
Academic Computing and the College of Arts and Letters and was a general
purpose laboratory open to all university students and faculty. The faculty
Computer Research Lab, reserved for faculty work, was furnished with an audio
setup, a digital synthesizer, word processing software, and a laser printer. The
Electronic Music Studio, equipped with professional tape recorders, analog
synthesizers and processing equipment, could be used by students and faculty.

A fifth studio, the Digital Synthesis Studio, was developed as a center for
advanced programming projects. This studio had a SUN 3/160 computer
connected to Micro Technology Unlimited’s A-D—A converter. It supported two
kinds of research: scientific research related to the perception and cognition of
acoustic events, particularly dynamically changing acoustic events; and
compositional research examining the use of the computer in the decision
making process of composition. (Music Notes, 1989, pp.1 and 2.) According to
Mark Sullivan, this computer has recently been replaced.

Students presented concerts of their studio work each term. Sullivan
conducted demonstrations of the computers for area elementary and high

schools. He also supervised a special summer program for gifted students.

167

When Mark Sullivan came to MSU in 1985, there was an analog studio
on the first floor of the Music Practice Building with two Moog synthesizers , a
small Putney synthesizer and various tape desks. This studio had been put
together by and dedicated to James Niblock, former department chair. Charles
Ruggiero had been the only one working with computers: an Apple lle with an
Alpha Centauri synthesizer. Sullivan took over the teaching of the electronic
music class. Sullivan wanted a computer studio, and a committee was formed of
Ruggiero, Newman, and Sullivan to work for this. Their proposal was turned
down for lack of money. Ruggiero developed an expanded version of Set
Analysis Programs (1986) for Apple II computers using the Finale notation
program. Sullivan composed music for the Theater Department’s 1989
prodution of A Tale of Two Cities, using sound generated with MIDI controlled
synthesizers and FM tone generators, combined with recorded, sampled, and
modified voices and acoustic instruments. Professor Ron Newman was also
involved in computer generated printing and notation of scores. In the late
19803 and early 19903, few musicians could do this. However, in the 21st
century most music students understand and can use this technology.

In 1989 the Theory and Composition Area offered eight courses in
electronic and computer music, taught by Ruggiero and Sullivan. Computers in
School Music was developed by Robert Erbes, as a new music education
course but this has been absorbed into an introductory computer course. Two
courses were also developed for composers and programmers at the advanced
level.

At the same time, Kenneth Bloomquist called Sullivan, saying that
Charles Sweeley from the Chemistry Department needed help with a research

project. Sweeley had devised a urinalysis test for young children that would

168

make exploratory surgery unnecessary if he could figure a way to interpret the
computer data. Could it be done musically? Sullivan was interested in the
research and found a way to use a melody to interpret the test. Using “The Girl
from lpanema,” if the urine was all right, the tune would play correctly, but each
problem would produce a misplaced note, each “wrong” note signifying a
different problem. Sweeley and Sullivan were about to present their findings
and demonstrate the program at a conference in Australia, when they realized
the song was still under copyright. Hastily they changed the tune to “Waltzing
Matilda,” the unofficial national anthem of Australia, which was in the public
domain. The title of the presentation was “Making Music from Urine.” This
project was described in Robert Root Bernstein and Michelle Bemstein’s book,
Sparks of Genius.

The publicity resulting from this project and the use of music to map
scientific data put Sullivan in the public eye. Paul Hunt, a chemistry professor
involved in computer technology, who had originally turned down the request
for a computer studio for music, found a used computer elsewhere in the
university, which was even more grand than the one Sullivan wanted, and the
computer studio was launched.

Bruce Campbell joined the theory department in 1985. He taught with
Ted Johnson, Sullivan, Ruggiero, Douglas Campbell, Corliss Amold, Ed Kirk,
Ron Newman, and Phil Sinder.

Undergraduate student Gary Nash came from Flint, Michigan, and
received a BM from MSU in 1986. When he first came, he felt he was far behind
his classmates, but thanks to Frank Ell, his clarinet teacher, and Mark Sullivan,
his composition teacher, he caught up. A concert with music by contemporary

composer Karel Husa in 1982 was Nash’s first time hearing contemporary

169

music, and it inspired him to want to compose. As an undergraduate Nash did
arrangements for the marching band and Spartan Brass. He also organized a
William Grant Still Concert with two other black students, Hal Cowherd and
Mtafiti Amara, for the performance of music of black composers, held annually
from 1987 to 1992. Nash’s compositions have been performed by the Detroit
Symphony at their African-American Composers Forum, by the Chicago Civic
Orchestra, and the Cincinnati and Baltimore Symphonies. The city of Flint held
a Gary Nash Day in his honor in 1992.
W

Gary Kirkpatrick, from William Paterson College in New Jersey, played
piano with the trio from 1980-98. Commissioning pieces by Karel Husa and
Leslie Bassett marked the start of serious commissioning by the trio. Walter
Verdehr convinced John Cantlon, MSU Vice-President for Development, to
sponsor the trio in a summer series and initiate permanent support from the
university for commissioning new works. This partnership with the Verdehr Trio
has been continued by Lou Anna Simon, the current Provost, and has resulted
in a new repertoire of more than 130 works to date. Compositions have been
written by internationally and nationally known composers such as Bright
Sheng, Gian Carlo Menotti, Gunther Schuller, David Diamond, Joan Tower,
William Bolcom and many others.

The trio has had a great influence in attracting students. On a trip to
China in 1984 they played at conservatories at Beijing, Shanghai, and Xian,
which resulted in a residency of the Xian String Quartet during Kenneth
Bloomquist’s administration. They have played in Australia many times.
Nicholas Milton, concertmaster of the Adelaide Symphony, was Verdehr's

student, as were his two brothers. In 2001 Verdehr was teaching two Russians,

170

two Chinese, one Canadian, one Korean, and two United States students.
The ' har W dwin uln
Frank Ell replaced Elsa Ludewig-Verdehr in 1982. This is the group that

went to China.

u,

  

.. : m r’ :3» . 6"
Figure 27. Richards Woodwind Quintet c.1985. Back: Douglas Campbell,
Frank Ell, Edgar Kirk. Front: Israel Borouchoff, Dan Stolper. Picture

courtesy of Edgar Kirk.

171

CHAPTER NINE
BARBARA WARD’S INTERIM ADMINISTRATION (1998-1990)AND
THE JAMES FORGER ERA (1990 - PRESENT)
r r -1

Barbara Ward was appointed Director of the School of Music in 1988.
She earned her BM from the University of Kentucky and her MM from MSU.
Ward joined the Justin Morrill College of MSU in 1967 as an instructor in fine
arts and then became acting dean of Justin Morrill College. Next she served as
director of education at Wharton Center for the Performing Arts, then Associate
Chairperson for Undergraduate Studies in the School of Music, and finally
Acting Chairperson. Ward selected David Catron as Associate Director for
Undergraduate Studies, named James Forger as Associate Director for Public
Services, and retained Dale Bartlett as Associate Director for Graduate Studies.

In the fall of 1988, the clerical-technical support staff went on strike. Dale
Bartlett was asked to find volunteer faculty and students to cover the phones.
The main office was open only from 1 until 2 for mail. The faculty had to do its
own typing and copying. The programs were done at Kinkos, and there were no
recording services. .

During Ward’s tenure the School of Music faculty revised its By-Laws.
Faculty met every week for two years to accomplish this task.

A number of saxophonists represented MSU at the Worfd Saxophone
Congress in Tokyo in August, 1988. James Forger played, accompanied by
Deborah Moriarty, the graduate saxophone quartet played a piece composed
by Charles Ruggiero, as did Joe Lulloff and Jun Okada. Doctoral student Griffin
Campbell played a piece by Jere Hutcheson.

In 1988, David Catron became Associate Director for Undergraduate

172

Studies and William Weidrich became Director of the Spartan Marching Band.
The following year, John Madden became Associate Director of Bands and
Director of the Spartan Marching Band. Madden had graduated from MSU in
1985 and received his MM in Music Education and Wind Conducting from
Wichita State University, Kansas in 1987. He was Associate Director of Bands
and marching band director at Rutgers University in New Jersey before coming
to MSU. Although the football team went to the Aloha Bowl in Hawaii, the
University decided $500,000 was too much to spend to send the band. The
Athletic Department, to which the marching band still belonged, bought $60,000
worth of new tubas instead.

The United States State Department invited the Verdhr Trio to take new
American works to Asia. During a three-month tour, they played in India in New
Delhi, Bombay, Calcutta, and Madras; in Pakistan in Karachi, Islamabad, and
Lahore; and in Sri Lanka and Nepal (Muses,1988-89, p. 14). Professors
Emeritus Roy Underwood and Romeo Tata both died in 1990. Tata was 84 and
Underwood was 94.

WW

James Forger came to Michigan State as a professor of saxophone in
1978. His BM and MM were from the University of Michigan, and he had taught
at East Carolina State University. He is still an active performer in 2003.

When Forger became interim director of the School of Music in 1990, his
goals were to build the faculty and the infrastructure to support it. He wanted an
inter-disciplinary approach. This meant that wherever possible faculty were
recruited who could serve in more than one area. The introduction of
ethnomusicology was a good example of this. Michael Largey, a scholar with

expertise in Haitian music, not only served the music department, but also

173

£—

served the Center for Latin American and Caribbean Studies. Isaac Kalumbu,
from Africa, also served the African Studies progam. Later in this chapter will be
found a description of Mark Sullivan’s work with scientists, which has also been
inter-disciplinary. The faculty members who have taught Integrative Arts and
Humanities (IAH) are other examples of Forger’s interdisciplinary orientation.
Forger’s original three year plan also included the building of jazz studies, and
outreach, with a two-year planning period for the opening of the Community
Music School.

A retreat with the applied music faculty resulted in a statement of
responsibility. Recruitment and retention of students for each studio became the
responsibility of each teacher and was tied to the measurement of teaching
effectiveness. A committee to evaluate peers was formed, and this peer review
committee judges every faculty member. The peer review was also connected
to merit pay. (This was formalized in the By-Laws reform, according to Judy
Palac.) The goals of the university - teaching, research, and outreach- needed
to be met by all faculty. These goals have served the university well over the
years, resulting in a highly trained faculty. The director and faculty were
empowered to work together collectively toward common goals and
expectations. Targets were decided on by the faculty. The university enabled
the director to make financial and other considerations to retain anyone who
had an outside offer to leave MSU.

Forger feels that the components of a strong department include a strong
faculty, strong music education, and strong and challenging programs. Each
faculty member now needs to be responsible for more things: maintaining
studios, building audiences, articulating what the school does, and developing

the role of technology. The roles overlap.

174

Forger's personal goals include increasing enrollment, reinvesting in
music therapy, building a strong piano pedagogy program, and acknowledging
that there are many kinds of legitimate music, including jazz and world music.
He also wanted to establish the Community Music School and to build funding
for the School of Music.

Forger has been especially successful at fund-raising, increasing the
number of scholarships given to the School of Music. In 1991 six endowed
scholarships were offered, worth $650,000. In 2002, 43 endowed scholarships
were available, worth over $6.5 million. Endowments never go away, because it
is the interest, not the principal, which is used for scholarships. At this time,
2003, it takes $30,000 to create an endowed scholarship. If the money is not
raised within five years, the principal is spent as a scholarship until the
scholarship disappears. There are other scholarships available for music
students, sometimes awarded in conjunction with retention or hiring of faculty.
Often faculty will request scholarship money for their students rather than a
raise for themselves. There have also been bequests worth a half million dollars
where people have left their estate, or a portion of it, to the School of Music.

In the first year of his three year plan, Forger outlined the need to replace
the director of bands, a music education teacher for early childhood, and the
flute professor, all due to retirement. Additionally he requested an
ethnomusicology position to help diversify the curriculum. In the next year the
department would need a tenor, a music theorist, and a music education person
with a specialty in vocal music. In the third year a choral music education
person, a music therapist, and another music theorist would be required. Forger
also requested an expansion of jazz studies and an additional percussion

teacher, as well as outlining his hopes for the community division. (The

175

community division is now called the Community Music School.) Whenever
possible, he showed how each of these positions could positively impact the
rest of the university.

Forger believes that the appointment of graduate assistants is a good
way to recruit highly talented students. He hoped to be able to add 21 new
graduate assistantships in a period of five years to cover a woodwind quintet,
brass quintet, vocal quartet, a string quintet and provide two assitantships in
jazz studies. In 1991 Don Cross, former physical plant engineer in charge of
planning, examined the Music Building and determined that $500,000 was
needed to replace inadequate wiring, lighting, and missing ceiling tiles, and for
asbestos removal. Specific issues included the music library, which was too
small, the need for more rehearsal rooms, the need for more classroom and
chamber music rehearsal space, and the need for air conditioning. A 600 to 800
seat performance hall was also needed, attached to the music building, with
adequate parking and a safe drop-off plan for children attending the Community
Music School.

In the fall of 2002 Forger was able to announce that a new music building
was now at the top of the university priority list and would be the next university
building to be constructed. In 2003 faculty are compiling a five year plan to
address what programs should be added or enhanced when there is a new
building. Among considerations are an expanded voice and opera department,
with the possible addition of musical theater, and more staff: possibly a vocal
coach and/or stage director. More jazz is a possibility, including a course in
American music and jazz history. Music history for the non-specialist could be
expanded. A graduate degree in Collaborative Arts, a more refined term for

what the layman would call accompanying, and an artist diploma are other

176

possibilities.

At present the new music program, Musique 21, is not part of any
curricular requirement, and this deficiency may be addressed. Another idea
being considered is a degree program in music business, with a cognate in arts
administration. It will be fascinating to watch the next ten years to see what
dreams have been realized. All dreams, of course, will be contingent on space,
faculty, and funding.

r - h

In 1990 the Spartan Marching Band traveled by bus to the John Hancock
Bowl in El Paso, Texas - a 72-hour round trip. There were no bowl trips during
the next two years. The first woman was elected band president in 1992: Janet
Murray of Sterling Heights. Sixty six veteran band members went to Tokyo,
Japan in 1993 where the Spartan football team lost to Wisconsin. The whole
band went to the St. Jude Liberty Bowl in Memphis, TN, again by bus. In 1994,
with no bowl game, the Spartan Marching Band Drum Line went to the
Percussive Arts Society lntemational Convention in Atlanta, where they took
second place out of thirteen.

A special university funding in 1995 gave the band its fifth set of green
and white uniforms. Mary Houhanisin of Brighton became the first woman drum
major, making Brighton High School the only school to have produced three
Spartan drum majors. All the marching band charts were computer generated
on Advantage Showare. The Spartan Marching Band accompanied the football
team to the Independence Bowl against the LSU Tigers, where the Spartans
lost. The 1996 season ended with a trip to the Norwest Bank Sun Bowl in El
Paso, where the band flew for the first time to watch Stanford beat the Spartan

football team.

177

In 1997 the football team was invited to the Aloha Bowl in Hawaii against
the University of Washington Huskies. This time the bowl contract said that a
contingent of the band must attend. Therefore the university agreed to send 90
students, and 26 others paid their own way. The band functioned as a pep band
in the stands, since no time was allotted for marching during the half. The 1998
football team did not receive a bowl bid.

In 1999 the Spartan Marching Band capped its season with a trip to the
Citrus Bowl in Orlando. Not only did the band play on national television at the
game, where the football team beat the Florida Gators with a field goal on the
last play of the game, but it also participated in parades at Disney MGM Studios,
Universal Studios, and the Magic Kingdom Parade. The following year did not
see a bowl invitation. In 2001 the Spartan Marching Band and the Notre Dame
band combined on the field for a special “In Memoriam” tribute to the victims of
the September 11 tragedy. The tribute was shown on national television. The
football team earned a bid to the Silicon Valley Bowl in San Jose, California,
where they beat Fresno State. In California the band played for pep rallies and
alumni and development functions, as well as in the pre-game and halftime
shows.

John Madden’s 15th year as director began in 2003. He calls the
Spartan Marching Band an “eclectic drill style band,” for which he incorporates
drum corps techniques and other contemporary drill and visual techniques.
Each year he and visual instructor Glen Brough teach a two-day leadership
seminar for squad and section leaders. The elected student leaders Ieam how
to be teachers and motivators of the new band members. This has been
functioning since 1991. There are also programs for the whole band on drug

and alcohol education and preventing hazing and harassment. (Information

178

from Spartan Marching Band Handbook 2002, Article I.)

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It's almost game time on a

football Saturday. The Michigan 3mm
campus looks beautiful. fextnoned with multi-
colored leaves on thousands of men. The air
is tingcduith a light chill. The fans. bundled

up in dark green aweatnhirts. silly hats and
twinkly eyes are lined up on either side of the
‘ ' campus streets with anticipation.

 

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Figure 28. Spartan Marching Band, 2002. Picture from The View, 2002.

Picture courtesy of Jill MacMillan, lnfonnation Officer.

92mm
Kenneth Bloomquist retired during the Spring of 1993, and John L.
Whitwell became Director of Bands. Whitwell graduated from Abilene Christian
University in Texas with a Bachelor of Music Education degree and received his

Master of Music degree from the University of Michigan. He has served as a

179

clinician and adjudicator in 20 states and six foreign nations. Whitwell conducts
the Wind Symphony, teaches graduate conducting courses, and supervises all
of the band department’s six ensembles. He came to MSU from Stephen F.
Austin University in Texas.

In 2000, a third band director was hired: Dr. Wesley Broadnax, who had
just completed his DMA in instrumental conducting at MSU. His responsibilities
include conducting concert bands and the Contemporary Music Ensemble.

Whitwell has continued the policy of having guest conductors. He also
encourages contemporary composers, who come and work with the Wind
Symphony and Symphony Band. He received the Distinguished Faculty Award
in 2003.

The band department has also sponsored an Honors Band of high
scth students since 1995. These students spend a weekend at MSU, have
rehearsals and master classes, and give a final concert on Sunday afternoon.
Students are housed with interested families in the area.

An interesting aspect of the band department is that the three conductors
often share the podiums of the different bands. According to John Madden, he
will often rehearse a piece with Wind Symphony for a concert, and John
Whitwell may also conduct a piece with Symphony Band. Wesley Broadnax
may conduct either ensemble. This gives each conductor a feeling of
responsibility for the total program and gives the students the feeling that each
conductor is important and equally capable.

Another way that Whitwell builds pride in the organizations is by having
students exchange parts for each piece of music. Though there is a section
leader, the section leader does not always play the first part. Leon Gregorian

also has “rotating seating,” the name for this policy, with the orchestra.

180

MW

Music Notes in the Spring of 1990 focused on the international aspects of
the School of Music. In June of 1990 orchestra director Leon Gregorian toured
Armenia as guest conductor of the Philharmonic Orchestra of Armenia. Ralph
Votapek performed every other year in South America, spending 80 per cent of
his time in Argentina. He was also a judge for the Eighth lntemational Van
Clibum Competition and the only American judge for the Tchaikowsky
lntemational Piano Competition in Moscow. Daniel Stolper was the only
American judge for an oboe competition in Italy, and also gave master classes
and recitals in Australia and Tokyo in the fall of 1989. Frank Ell performed in
Belgium, Holland, and Norway, and the Verdehr Trio performed in many
European countries as well as Burma, China, Hungary, and the Soviet Union.
Dai Uk Lee and Yong Hi lVloon from Korea performed in their homeland and
James Forger, Deborah Moriarty, and Mark Sullivan met with other faculty from
United States universities in Moscow. Musicologists Conrad Donakowski and
Rosalie Schellhous conducted research in Europe and presented lectures and
papers there.

Thirty three lntemational students are pictured on the front page of the
1990 Music Notes. Most of these came to MSU as a direct result of seeing or
hearing MSU’s professors overseas. For almost 50 years MSU has promoted
international dialog. In 1956 it was the first university to appoint a dean of
lntemational Studies. Michael Schechter, assistant dean of lntemational
Studies then, said that John Hannah modernized the notion of the land-grant
function (teaching, research, and outreach) to include outreach around the
world. (Music Notes, 1989, p.7). First the university provided assistance to

developing countries, but now there is also the experience of cultural exchange.

181

lntemational students are assisted by the Office for lntemational Students
and Scholars. Most students begin with English lessons and lessons on their
instrument. When their English is proficient enough, they begin their degree
program. lntemational students have improved the quality of the instrumental
ensembles, especially the orchestra. Pianists are often employed as
accompanists for recitals and juries of other students. lntemational students are
found in the MSU Symphony Orchestra and the Greater Lansing Symphony,
but they also hold important positions in other orchestras in the state, including
Midland and Battle Creek.

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Leon Gregorian continued the Chamber Orchestra that was started in
1965 by Romeo Tata and had been kept going by Dennis Burkh during his
tenure. Gregorian’s building of the orchestra program gave rise to an increase
of international student enrollment. Many string players from all over the world
enrolled at Michigan State. In 1992, Gregorian started the Campus Orchestra,
primarily for non-music majors who wanted a place to play. This orchestra was
conducted by graduate assistants in orchestral conducting. In 1997, the
symphony orchestra had outgrown its rehearsal space in Room 120 Music
Building, so Gregorian started a third orchestra, the Philharmonic Orchestra,
whose members are mainly younger music majors. This orchestra is also
conducted by graduate conducting assistants, whom Gregorian calls interns,
but Rafael Jimenez has been responsible for this orchestra since his
appointment to the faculty in 2001. Jimenez had completed his DMA degree
with Gregorian the year before. Although John Whitwell, Director of Bands,
assigns his graduate conducting assistants to specific ensembles, Gregorian’s

assistants conduct one piece with several different ensembles. An orchestral

182

assistant may conduct each of the ensembles during a semester, but would not
be responsible for an entire program. The name of Campus Orchestra was

changed to Concert Orchestra in 2002.

 

Figure 29. Kenneth Bloomquist, Leon Gregorian, and Ralph Votapek. Picture
courtesy of Jill MacMillan.

In 2002 students from 31 foreign countries and 39 different states
participated in the MSU orchestral program. Gregorian received a Teacher-
Scholar Award in 1988, an Apollo Award for service to the university in 1998,
and the Distinguished University Professor Award in 1999. In the summers he
serves as orchestral director at the New England Music Camp in Maine.

The ommunit M si hool

The Community Music School (CMS)was established in 1993 with John
Martin as director. Its mission statement is to provide comprehensive music
education: quality instruction, related music services, and educational programs

to interested individuals of all ages and levels, with financial assistance for the

183

needy. It offers private and group instruction on all orchestral, wind, and string
instruments, recorder, piano, voice, guitar, and percussion. The Suzuki
program, the MSU Childrens Choir, Early Childhood Music and the Music
Therapy Clinic also fall under its umbrella.

The first community music school was established by Jane Addams and
Ellen Gates Starr at Chicago’s Hull House in 1892. MSU's CMS belongs to the
National Guild of Community Schools of the Arts, which included 186 schools in
1991. (Music Notes, 1991, p.3.)

The Music Therapy Clinic has always exemplified MSU’s land grant
philosophy of outreach. The therapy clinic, which had already worked with
clients on campus for 25 years, was not changed in 1993, but its adminstrative
function was taken over by CMS, which now does the billing and scheduling.
The therapy clinic is headed by Professors Ted Tims and Roger Smeltekop,
who are assisted by other teachers and MSU therapy students. The Suzuki
program, headed by Professor Judy Palac, had been established for a number
of years, but is now run through CMS. Its 100 plus students are taught by MSU
students and CMS faculty.

The MSU Children’s Choir began in 1993 with 23 members and their
conductor Mary Alice Stollak. This group is officially named the MSU Children’s
Choir, but is often called the “Touring Choir”, since this group has performed at
many different venues. By 1996 a second choir had been added, known as the
CMS Singers. In 2000, a Preparatory Choir was formed, as was a High School
Treble Ensemble. The groups involve nearly 200 singers. All four choirs give
two concerts a year together. The MSU Children’s Choir has performed at two
American Choral Directors Association conventions, has sung the children’s

portion of Carmina Burana with the Detroit Symphony, and was the invited

184

auditioned choir from the United States at the sixth World Symposium of Choral

Music at Minneapolis in 2002. They have also recorded 3 CD’s.

 

Figure 30. Mary Alice Stollak rehearsing MSU Children's Choir. Music Notes,
2002.

The Early Childhood Program was begun by Cynthia Taggart in 1993.
Bea Mangino’s Music for Children was its predecessor. Classes are organized
as follows: birth to18 months; 18 months to three years; and three to five years.
Children are given the opportunity to explore their musical environment
through singing, listening, and movement in the same way that they are given
the opportunity to explore their language. After Early Childhood classes,
children can go on to a Young Musicians Program. MSU students observe and
assist with classes as part of their own program. Piano pedagogy students also

work with young piano studerts in a parallel program, headed by Midori Koga.

185

 

Figure 31. Cynthia Taggart teaching Early Childhood class. Courtesy of Jill
MacMillan.

By 1994, CMS had 700 students, taught 800 lessons and classes per
week, and had a faculty of 67. A new facility for the Early Childhood Program
was developed in the Auditorium building. The Early Childhood Program had
started with three classes and 24 children, but by 1994 it had 20 classes with
281 children. The Suzuki program added cello and piano to its offerings. The
Children’s Choir grew from 25 to 60, and four choir members participated in the
National Festival of the Arts Concert in Washington, DC. Four members of the
chamber music program were also participants.

In 2002 it was announced that the Community Music School had
reached an agreement with the City of East Lansing to lease space in a former
church now owned by the city in order to hold classes in a separate building.

Finding space for lessons and parking were almost insurmountable problems

186

when CMS operated in the music building, and the new facility solved both
problems. A few parts of CMS, like the Music Therapy Clinic and the Piano
Pedagogy program remain in the music building. The new facility has been
remodeled and is beautiful.

T ' - h n

In October of 1994, the music library moved from the music building to
the new Fine Arts Library, serving art and music, on the fourth floor of the West
Wing of the Main Library. Now all scores, recordings, reference materials, books
and periodicals are housed in the same place, which also includes many
listening carrels. The staff of the MSU Physical Plant helped with the move.

Wm

In an interview with Ted Johnson, the longest-serving member of the
theory faculty, Johnson stressed the difference between today’s student and
those of the past. He felt that students are coming with continually better
performance skills, but with less interest, and less preparation, in the academic
side of music. He also remembered when the school had a much more
extensive summer school than it has now. Nuns, especially, flocked to campus
in the summer, but he did not remember any coming in the 19903.

For a number of years students and faculty from other disciplines would
come to the computer laboratory in the music building to use its facilities. Since
computers have become part of the life of the ordinary person and especially
the college student, interested people no longer have to come to the music
building, but Mark Sullivan still works on cross-disciplinary projects. The Digital
Synthesizer Studio no longer exists, but its equipment has been integrated into
other facilities on the third floor of the Music Practice Building.

Recently Sullivan has been working on a project to bring the arts into the

187

public schools, especially to inner city children. He was awarded a Dwight D.
Eisenhower Higher Education Professional Development Grant to help mid-
Michigan teachers integrate the study of performing and visual arts into the
curriculum. Sullivan arranged for several Hispanic artists to work with teachers
in two schools to develop creative activities, including dance, mime,
photography, painting, poetry, and singing, that would encourage new thinking
skills in students. Artists worked with the students for several days, performing
and demonstrating their art and helping the students to create similar activities.
The grant also helped both students and teachers to use technology and the
lntemet, and to share their results with others.

“T he schools needed the funding to bring living artists into their world,”
said Sullivan, “and the grant allows us to serve that need. This grant is also an
opportunity to leverage the resources we already have at Michigan State
University, it will provide researchers a window on how the study of art and
world cultures can motivate other types of Ieaming, and it will give us another
meaningful way to fulfill our outreach mission as a land grant university.” (From
a Michigan State University Press Release issued by Kathy Walsh, Information
Officer.) The grant has been renewed twice, but is now a part of No Child Left
Behind: Title II, Improving Teacher Quality.

MiG—519mm

The retirement of Bea Mangino in 1991 and Charles McDermid in 1992
marked the beginning of a new era in music education. Robert Erbes, Albert
LeBlanc, and Judy Palac were still teaching and they were joined in 1989 by
John Madden, Spartan Marching Band Director, who is part-time in music
education. Madden teaches undergraduate conducting and observes student

teachers in the spring. Jonathan Reed, Associate Director of Choral Activities,

188

replaced Jefferson Johnson in 1993. Reed teaches undergraduate conducting,
high school choral methods, and observes student teachers, as well as
directing Men’s Glee Club and State Singers. Cynthia Taggart, with degrees
from the University of Michigan and Temple University, joined the faculty in
1993. The following year John Kratus was hired. Taggart and Kratus were hired
from Case Western Reserve University at the associate professor level. Kratus
had degrees from SUNY-Buffalo and Northwestern University.

In 1995 Robert Erbes resigned as chair of music education, and John
Kratus became the new chair. Erbes retired in 1997. He was replaced by Mary
Ellen Cavitt for one year, followed by Colleen Conway, who left to teach at the
University of Michigan in 2001. Mitch Robinson will assume the instrumental
music education position in the fall of 2003.

During Erbes’ term as chairperson of music education, he oversaw the
transition to semesters, the development of the five year undergraduate music
education curriculum, revisions in the MM and PhD programs, and the
assumption of the administration of Directed (Student) Teaching programs from
the College of Education. Erbes is most proud of establishing observation as a
part of every methods course. (Personal interview.)

A new five-year teacher education curriculum was implemented in 1992-
1993. A new music education methods class was developed, consisting of
training in teacher effectiveness, classroom management, multicultural
education, teaching children with disabilities, planning and organizing for
teaching, and professionalism in writing and speaking. In the fourth year,
students took a full year of methods courses in their major field, and could elect
courses like computers in music education, early childhood music, marching

band methods, Suzuki education, orchestration, or more conducting. The fifth

189

and last year contained graduate level course work in music and teacher
education, plus a full semester of student teaching, coordinated and supervised
by the music education area (Music Notes, 1993, p.25). All curricula were
revised again in 2001. The undergraduate curriculum now reflects the actual
certification practice in Michigan. Music teachers in Michigan are certified to
teach music from kindergarten through 12th grade. Earlier MSU curricula had
separate tracks for string, instrumental, and vocaneneral music education.
Now students have requirements in each area, in order to be better prepared.
When John Kratus became chair of music education, he instituted a
series of Saturday seminars. Experts in music education came to campus to
speak on current topics, and teachers around the state, as well as MSU
students, were invited to attend. David Elliott, Edwin Gordon, Scott Shuler,
Doreen Rao, Peter Webster, Alice Brandfonbrenner, David Hargreaves, Anton
Armstrong and Christopher Azzara have been some of the clinicians. Kratus
also established a biennial conference, “New Directions in Music Education."
Early Childhood Music and Developing Creativity are examples of topics that

have been covered.

 

Figure 32. Music education faculty, 1996. LeBlanc, Kratus, Erbes, Taggart,
Palac. Photo by the author.

190

In 2001 Edwin Gordon, author of several music aptitude tests, as well as
developer and proponent of Music Learning Theory, a sequential method for
the Ieaming of music, was named to the faculty. For a number of years Gordon
and Taggart have also taught a summer workshop for music teachers on
campus, which has been very successful.

Music education students had a unique opportunity during the summers
of 2001 and 2002 to participate in a two-week teaching lntemship in inner city
Detroit. The School of Music had been trying to build a better relationship with
Detroit schools, and this was one facet of that effort. Students found out what it
was like to be in a minority, as the students were white, teaching in a school
with primarily Arab American, Hispanic, and African American children.
Students found the experience to be ovenlvhelmingly positive.

Wm

Music therapy celebrated its 50th anniversary in 1994 as the first and
largest undergraduate program in the country. It also saw the retirements of
Robert Unkefer and Dale Bartlett, and the hiring of Frederick Tims. Tims came
from Florida, where he had been professor of music therapy at the University of
Miami. Tims led a team of researchers in a project entitled “Music and
Wellness,” studying the effects of music therapy on the health of older
Americans. He also worked on a project studying the effects of music therapy on
Alzheimer’s patients at the University of Miami. At Michigan State he is directing
two projects, one on therapy for breast cancer patients, and the other called “A
Music Therapy Approach to Violence Prevention for At-Risk Adolescents.” The
therapy community was saddened by the death of Robert Unkefer in the

summer of 2002.

191

 

Figure 33. Charles K. Smith, Director of Choral Activities. Picture courtesy of
Jill MacMillan, Information Officer.

In 1992 the Chorale was invited to New York City to Lincoln Center’s
Mozart Festival. They sang at different places along the way, including James
Forger’s alma mater, the Hill School. In 1995 Charles K.Smith, Director of
Choral Activies, was invited to Carnegie Hall. Some members of Chorale and
Choral Union performed the Mozart Grand Mass in C. This era culminated in the
trip to England and Wales with Chorale in the summer of 1996. Smith retired in
2002 and was replaced by David Rayl, who came to MSU from the University of
Missouri-Columbia. Chamber Choir continued under the direction of graduate
students, but in the late19903 students were no longer only from State Singers,
the numbers varied, and often the group had a sizable number of choral
conducting majors. In 1999, Smith changed the complexion of Collegiate Choir
to a jazz choir.

The Spartan Discords were founded during the tenure of Steve

Michelson in 1985. They are a small a cappella group whose main function is to

192

recruit for Men’s Glee Club. They specialize in musical humor and
entertainment.

The Accafellas were founded in 1996 by freshman Philip Johnson.
There was a waiting list for the Spartan Discords, and Johnson was impatient
and formed his own group. Like the Discords, they are also a men’s a cappella
group with a strong campus following in 2003.

Capital Green is a mixed a cappella group singing the same kind of
popular music as the Discords and Accafellas. They began shortly after the
Accafellas. Ladies First is an a cappella women’s group and is a spin-off from
Women’s Glee Club. It was begun in 1986.

Steve Michelson took over State Singers and conducted them until he
left in 1990, when Jefferson Johnson took the group. Johnson led the group for
three years until he left for the University of Kentucky. Then Jonathan Reed
came. Reed feels that when James Forger became chair of the School of Music,
he brought new energy to the position. “A flurry of positive energy surrounds
him,” said Reed. Forger got the existing faculty moving and also brought in new
faculty: trumpet, bassoon, horn, and flute teachers, band director, marching
band director, music education people, and vocal personnel. The music library
in the Music Building moved to the fourth floor west in the main library.

Reed was a graduate assistant in music theory, teaching freshman and
sophomore ear training for Corliss Arnold and Bruce Campbell. Theodore
Johnson stepped down .as theory chair and was replaced by Charles Ruggiero.
The theory faculty has grown since Reed was a student.

Reed has also seen the decline of organ study at MSU. Corliss Arnold,
author of A Comprehensive Study of Organ Literature, retired at a time when

enrollment in the whole School of Music was down, and he was not replaced.

193

Amold’s organ students had the utmost respect for him and his influence on
nearly 40 years of organists was great. (Personal Interview with William
Schneider.) Reed feels that the national trend is toward less organ music and
more computer generated music in churches.

Reed has also seen a change in the marching band culture. The fervor of
the marching band students plus some aggressive section leaders resulted in
some hazing of students. After litigation of the hazing incidents, the marching
band is now a kinder, gentler organization.

Reed’s most influential teachers at MSU were Charles Smith, Ethel
Armeling, Theodore Johnson, Charles Ruggiero, and Dale Bonge, who
introduced him to medieval music. His greatest experiences as a student were
singing in Chorale at the Central Division American Choral Directors
Association (ACDA) convention in Cleveland, the national ACDA convention in
Kentucky in 1989, and at Lincoln Center in New York City at the Mozart Bi-
Centennial concert. (Personal interview.)

Reed’s work with the Men’s Glee Club has been outstanding. Men’s Glee
is a non-auditioned group of more than 100 men, most of whom are not music
majors. They have taken three European tours since Reed took over and have
represented the university at both regional and national ACDA conventions, as
well as singing for the tail-gaters at football games in the fall.

WW

Judy Palac serves as the pedagogical director and string director for the
Suzuki string program as well as teaching the music education string students
and string pedagogy at MSU. In 1993 the Community Music School (CMS) was
founded and the Suzuki program was placed under its umbrella, along with

Music for Children, which became the Early Childhood and Young Musicians

194

programs, and the Young Pianists program. The Suzuki program started with
about 75 young violinists. Melissa Gerber was co-director with Palac in 1993.
Hannah Holman started a Suzuki cello program in 1994, and Katie Buck
became co-director and full time violin teacher. In 1996 Kristine Parker started a
Suzuki flute program, and in 1998 Natasha Dorrnan started Suzuki piano.
Suzanne Garber is now co-director and full-time teacher, and Patricia
Nultemeier is also a full-time violin teacher.

In 1991 Danielle Charbonneau began a tour group of the most advanced
students, and this group played at the commencement ceremonies in Fall 1991
when Dorothy DeLay, noted violin teacher at Juilliard School of Music and
possibly the MSU School of Music’s most famous graduate, received an
honorary Doctor of Fine Arts degree. Charbonneau and Geoffrey Day also
developed a chamber orchestra out of the tour group. The tour group has
played with the MSU Symphony, the Greater Lansing Symphony, and it went to
the National Festival of Arts in Philadelphia in 1997. Each year they still play
with the Greater Lansing Symphony Orchestra and they have combined with
the Okemos Suzuki program on various occasions.

13;

Joseph Lulloff studied saxophone in high school with Stanley DeRusha
in Milwaukee,Wisconsin. When DeRusha became Director of Bands at MSU,
Lulloff decided to enroll at MSU also. He played in wind ensemble, jazz band,
and the Faculty Jazz Trio with Professors Ruggiero, Newman, and a bass player
named Bostick from telecommunications. Lulloff was a student from 1978 to
1 984.

Lulloff was not happy with his saxophone lessons as a freshman and

was considering transferring, when James Forger was hired. Lulloff decided to

195

give Forger a try and happily stayed to finish his degree. Lulloff felt the band
program and theory and composition were particularly strong during his
undergraduate years. The three big jazz bands in the early eighties were also
strong, and they won awards at the Ohio State and Notre Dame Jazz Festivals
as well as at Aquinas College in Grand Rapids.

In 1991 Lulloff was appointed professor of saxophone and jazz at MSU,
after teaching at the University of Illinois. Lulloff feels the individual studios are
stronger and the orchestra under Leon Gregorian is vastly improved since his
undergraduate days. The Community Music School is also very good. He
mentioned specifically the MSU Children’s Choir program under Mary Alice
Stollak and the Early Childhood Program under Cynthia Taggart. He also feels
James Forger is providing strong leadership for the school. 7

Since the saxophone is both a jazz and classical instrument, Lulloff has
come up with some innovative ways to serve the saxophone players. Those
who are interested in both styles have a half hour lesson each week with Lulloff
and a half hour lesson with the jazz saxophone teacher. In the students’ later
years they can elect more jazz. Lulloff and his graduate assistant share the
teaching of lessons for music education freshmen.

Lulloff feels that music students perform a service to MSU in providing
music for many occasions, and that the placement of graduates in jobs is
excellent, as is outreach. Recently seventeen MSU students participated in a
saxophone conference in Arizona. Lulloff teaches summers at the Brevard
School in North Carolina, he continues to give concerts. (Personal interview.)

Besides the full-time faculty, a variety of individuals hired through the
College of Arts and Letters and the Office of the Provost have provided

additional instruction. The Visiting Minority Scholars Program has provided

196

funds for a number of part-time instructors of jazz. Saxophonist Andrew Speight
was hired through this program in 1994.

Jazz courses available in 1994-1995 included beginning and advanced
jazz improvisation, jazz arranging, and private study on instruments as well as
the opportunity to perform in one of three bands. In addition, a noontime jazz
performance or a jazz forum, where guest artists and lecturers discuss various
aspects of jazz, was held each week (Music Notes, 1994, pp.3-6).

Rodney Whitaker was hired in 1996 to teach jazz, when Ron Newman
was still coordinator of jazz studies. In the next year Andrew Speight became
jazz studies coordinator. In 1997 there were two big jazz bands and a number
of combos. In 1998 the program had only one big band and several combos. In
that year Branford Marsalis was appointed Visiting Artist-in-Residence. He
came to the campus several times and worked with students. He was
considered to be demanding but his presence stimulated interest in the
program. In the spring of 2000, both Marsalis and Speight left, and Rodney
Whitaker became coordinator of jazz studies. Wycliffe Gordon, a trombonist
from New York City, joined the faculty and a second jazz band was started.
Gordon directed Jazz Band I and Whitaker directed Jazz Band II. In the second
semester, the first octet was formed. In 2001 MSU announced its first degree
program in jazz.

In 2002 Wycliffe Gordon became head of jazz at the Juilliard School of
Music, and his status at MSU became Artist-in-Residence. He commuted from
New York City to give lessons and work with his students, but was not on
campus enough to direct a big band. Trumpet player Derrick Gardner replaced
him as full-time faculty, and in 2003 directs a big band and an octet. It is
interesting that Gardner’s father, Burgess Gardner, directed a jazz band at MSU

197

when he was working on his PhD in music education. His mother also received

a PhD in music education from MSU.

 

Figure 34. Rodney Whitaker, Director of Jazz Studies, and Wycliffe Gordon,
Picture courtesy of Jill MacMillan, Information Officer.

In 2002-03 there were 32 jazz majors, although some had not changed
to the jazz major officially. Some of these are double majors, often combining
with music education. Whitaker said that he wants to enroll 15 majors a year
with a maximum of 60 in all. In 2003-04 he plans to have three big bands and
three octets. Jazz majors also take a jazz history course, a listening course,
beginning improvisation, and jazz musicianship, which includes theory, piano,
and improvisation. In 2003-04 advanced jazz musicianship will be offered, as
well as jazz pedagogy, and composition and arranging. (Personal Interview.)

Musicology

The focus of musicology began to change dramatically with the hiring of
Michael Largey in 1993 as an ethnomusicologist. Rosalie Schellhous retired in
1996, and in 1997 Anna Celenza replaced her. Isaac Kalumbu joined Michael

Largey in ethnomusicology. Both Largey and Celenza have been voted

198

recipients of the MSU’s Teacher-Scholar Award. Celenza is also writing a
series of children’s books on composers which has been very successful. The
first book was about Haydn and the second about Moussorgsky, and they are
packaged with CDs of the composers’ music. Conrad Donakowski, who came to
the music department from humanities, retired in 2002 and was replaced by
Kathryn Lowerre. The PhD in Musicology was discontinued in 1997.

V i 1 -

Meredith Zara joined the voice faculty in 1985, following the retirement of
Leona Witter. Ethel Arrneling retired in 1990, after 41 years of teaching, and
Claritha Buggs was hired to replace her. Paul Hartfield was hired in 1994, and
Mark Doss was hired as a visiting professor through the African-American
studies program. Harlan Jennings was the only voice professor in the 19903
who had along history at MSU. When Paul Hartfield left abruptly, Robert Bracey
took his place. Bracey had been a student in the 19803 and was well known to
many of the faculty. When Claritha Buggs left for Florida State in 1997, Patricia
Green replaced her. Meredith Zara retired in 2000 and Melanie Helton took her
place.

Robert Bracey called his appointment to MSU his dream job. His studio
as a faculty member was the one where he took his first voice lesson as a
freshman at MSU. His insight into the opera program as a student and teacher
were especially interesting. He felt that the collaboration between MSU and the
Mid-Michigan Opera Company, though better than nothing, had only used
students in very minor roles, mostly in the chorus. (Personal Interview.)

After Bracey joined the faculty at MSU, the school began to put on its own
operas. According to Bracey, MSU was the only school in the Big Ten without a

full-time opera director. Even the vocal department was small, with only four full-

199

time faculty members. Indiana University had 21 members on the voice faculty,
in a much larger program. Bowling Green University, where Bracey taught
before coming to MSU, had five voice faculty and an opera director. He felt that
MSU needs an opera director, or a vocal coach/diction specialist for opera. The
School of Music is working toward an opera program, producing two operas
each year, with two casts each, whenever possible.

Bracey felt that the School of Music had grown professionally in recent
years, with more doctorates and more performance opportunities available to
more students. He thought that MSU’s DMA degree was more rigorous than that
of the University of Michigan, which is the only school he knows where the DMA
student does not have to submit a document. His policy as chair of the voice
department was to demand the same standards for music education voice
majors as for performance majors. Bracey balanced his career as a teacher with
his career as a performer. In 2001 he won first place in an international solo
competition at Carnegie Hall, sponsored by the Oratorio Society of New York.
He left in 2003.

Suzanne Stevens Aaron, who was a student at MSU from 1987-1992,
received her BM in music education with a psychology minor. Aaron felt that she
had received good preparation from Charles McDermid, who had rigid
expectations, and Bea Mangino. Aaron worked with Mangino in class piano and
in Music for Children, which she felt helped her preparation. She did her
student teaching in the Okemos schools with Jean Kocher and Frank DeWald.

Aaron was a student of Meredith Zara, who went to Georgia each
summer. Since Aaron grew up in East Lansing, she studied during the summers
with Ethel Armeling, who was one of her major influences. Corliss Arnold, her

theory teacher, and Charles K. Smith, her choral director, were the others. She

200

also found Bruce Campbell’s handbooks and packets 'for theory very useful.
Highlights of her MSU career were singing with Chorale at the National ACDA
Convention in Nashville in 1989 and in New York at the Mozart Festival. Joan
Boytim, a guest of the School of Music,had spopken to voice majors about
running a studio. Aaron found this very helpful, and that is what she does
currently at the University of Richmond, the Community School of the
Performing Arts in Richmond, and Virginia Commonwealth University.

Aaron also mentioned the distance between Charles Smith, Director of
Choral Activities, and some members of the voice faculty. Some members of
the voice faculty felt that choral singing was not good for the voice of the
professional singer. This has been a problem for many years, and is not unique
to Michigan State. After MSU, Aaron went to Eastman School of Music for her
MM in Vocal Performance and Literature.

Wm!)

The retirement of Corliss Arnold in 1991 marked the end of MSU’s
degree in organ performance. Two original members of the Richards Woodwind
Quintet also retired. Douglas Campbell, horn teacher since 1946, retired in
1990 and moved to Washington state, where he was still teaching in 2003.
Edgar Kirk, bassoon teacher since 1948, also retired in 1990. Both men had
also taught theory, and Kirk also served as Asociate Chair for Graduate Studies
from 1978 until 1987. During the same period Ethel Anneling retired from the
voice faculty. Armeling had also directed Women’s Glee Club and taught vocal
literature. Byron Autrey, trumpet teacher, retired as well. The loss of these five
teachers was especially dramatic because of their combined approximately 200
years of service to music students at Michigan State.

In 1991, Richard Illman, trumpet, and Janine Gaboury-Sly, horn, joined

201

the brass faculty. Joe Lulloff returned to his alma mater to teach saxophone, and
Barrick Stees became bassoon professor. In 1993, Richard Sherman was
appointed professor of flute. Jan Eberle replaced long-tenn oboe professor Dan
Stolper on his retirement in 2001. Barrick Stees won an appointment to the
Cleveland Symphony and left in 2002. He was replaced by Michael Kroth.

The piano faculty remained stable. Midori Koga joined the faculty in 1995
in the field of piano pedagogy. Yong Hi Moon left in 2002 to teach at Curtis
Institute. The string area saw changes at the end of the decade. Suren
Bagratuni was hired in 2000 to fill the cello vacancy created when Owen
Carman retired, and his wife Natalia Khoma, also a cellist, was appointed to
direct chamber music at MSU. Dimitri Berlinsky was hired as violin professor in
2001. In 2002 Charles Avsharian became an adjunct violin professor. Alison
Shaw became percussion professor in 1995, leaving in 2003, and Jon Weber, a
graduate assistant in percussion, was hired as a faculty member in 2001. David
Hall replaced Shaw as percussion profesor.

We;

In 1994 the quintet was composed of Richard Sherman, flute; Daniel
Stolper, oboe; Frank Ell, clarinet; Barrick Stees, bassoon; and Janine Gaboury-
Sly, French horn. This group played together occasionally for the rest of the
decade. Stolper retired in 2001, but continued as a faculty member at the
lnterlochen Arts Academy and National Music Camp. Probably the new faculty
members will be part of the quintet, but that remains to be seen.

MM

The Verdehrs have commissioned pieces for their trio by contemporary

composers and they have subsequently recorded them. They were responsible

for a particularly interesting event in 1996 at MSU. In 1989 they had

202

commissioned a trio from Gian Carlo Menotti. They received the first movement
in 1995, and the School of Music decided to host “A Tribute to Gian Carlo
Menotti at 85" with Menotti present. The Verdehrs received the second
movement of Menotti’s trio a few weeks before the concert and they received
the last movement on the day of the concert. The concert included five works by
Menotti: the Trio, Lewisohn Stadium Fanfare, Mother’s Lullaby and Magda’s
Aria from The Consul, and Triple Concerto a Tre. Menotti also gave a lecture to
MSU students on the Friday of his visit and a lecture to the general public
before the concert. Curiously, many of the international students had never
heard of Menotti until then.

In the year 2000, Music Notes printed a list of recordings by the trio. The
list included 7 CDs, plus 10 volumes of the Making of a Medium, which was
videotaped. In 2003 they were on sabbatical leave doing more recording. They

hope to reach 150 commisssions by the year 2005, which is MSU's 150-year

anniversary (Music Notes, 2001, p.5.)

 

 

Ludewig-Verdehr. Courtesy of Jill MacMillan.

203

Th aum nt Brass inte

Since the Beaumont String Quartet no longer existed, a brass quintet
formed in 1989 took the name. Since there is only one trumpet teacher on the
faculty, the second trumpet part has always been played by trumpet graduate
assistant. The picture below shows Janine Gaboury-Sly, horn; Curtis Olson,
trombone; Philip Sinder, tuba; Mark Thompson, graduate student, trumpet; and
Richard Illman, trumpet. Since Curtis Olson is now Associate Director for
Undergraduate Studies, Ava Ordman has taken his place in the quintet, and
Mitch Gable has taken Mark Thompson’s place. This group has been very

active since its inception.

 

Figure 36. Beaumont Brass Quintet. Photo courtesy of Jill MacMillan

204

Figure 37. Ensemble Directors Not Previously Pictured.

   

John Whitwell, Director of Bands David Catron, Marching Band Director
(1993— present.) (1970-74; 1979-88)

 

 

Jonathan Reed, Associate Director of Choral Activities. (1993- present.)

205

 

John Madden, Spartan Marching Band Director
I989-present

Pictures courtesy of Jill MacMillan.

 

Postcard of the Music Building. Picture courtesy of Mary Black.

206

CHAPTER TEN
SUMMARY AND CONCLUSIONS

A number of trends emerge when thinking about the School of Music at
Michigan State University. These trends are evident in terms of faculty and
outreach particularly on the positive side, and in the almost constant need over
the years for more money and space, on the negative side.

Jonathan Snyder's remark in the late 18003 about giving the women of
the university piano lessons because a home without music is not a home is the
first administrative indication about the role music was to play at MSU. There
were people teaching music at MAC long before there was a music department.
Without John Siebert Taylor's original department of music to show what could
be done, it is doubtful that Lewis Richards would have been so successful.
Richards’ international reputation allowed him to consort with the greatest
names in music at that time, such as Bruno Walter and Herbert von Karajan.
This enabled him to attract musicians of the highest stature to teach at MSU.
The refugees from Russia helped, of course. Richards’ vision for music
education and his acceptance of the outreach program of music for rural
children had a great impact on music education in Michigan for years. When he
was accused of mismanaging funds because the budget had grown so much,
his exoneration proved the high regard in which he was held. The budget did
not even suffer. Instead his accusers lost their jobs. His selection of Leonard
Falcone to build the band brought forty years of stability and musical excellence
to the band program. James Niblock once said that he thought that Falcone had
contributed the most to the music department of any one person. (Personal
interview with Niblock.)

Roy Underwood’s vision was equally influential. Beginning the first music

207

therapy program in the country was a tremendous idea, and it was aided by
another visionary, MSC President John Hannah, who was willing to try new
things. Hannah’s ideas about financing buildings by having them paid for with
the income they generated, and his preparation for the Post-World War II
enrollment explosion, also helped every aspect of the college. This is
particularly important for the music department, however, since in times of
budgetary difficulty, the arts are the first to suffer. UndenNood was also a
pioneer in piano pedagogy, as well as encouraging the beginnings of the
faculty chamber ensembles, the Richards Woodwind Quintet and the Beaumont
String Quartet. His studio teachers were strong, and by having them double as
theory teachers or by finding part-time faculty extra jobs to make full-time jobs,
he was able to attract some excellent faculty. If he had offered only part-time
positions, I feel that the caliber of teaching would have suffered immeasurably.

Walter Hodgson was also a visionary, though, like Underwood, he
wanted to get the most and the best from his faculty. Trying to establish jazz was
commendable, even though it did not work at the time. Hiring Luboschutz and
Nemenoff as artists-in-residence and bringing composer Mario Castelnuovo-
Tedesco to campus for a year were also moves which impacted heavily on the
students. Helping to bring to campus in the summer the Arts Festival, with
Robert Shaw for the first few years, and the Congress of Strings, as well as the
Stan Kenton Stage Band Camp, enriched the lives of students and the
community. Evidently Hodgson did not enjoy administration, since he returned
to teaching after only four years as department head.

James Niblock was responsible for the new Music Practice Building as
well as for hiring Elsa Ludewig-Verdehr, Walter Verdehr, and Ralph Votapek,

among others who have made their careers at Michigan State. Niblock also

208

hired a diverse faculty, giving African-Americans a chance: some on the faculty,
like Robert Harris, and some as students, like Burgess and Effie Gardner, who
both earned PhD’s in music education and whose son Derrick is now serving
on the jazz faculty as trumpet instructor and assistant director of jazz studies in
2003.

Kenneth Bloomquist kept the department going by having it declared a
“Unit of Excellence,” even when enrollment went down rather dramatically. This
kept the faculty fairly stable. He also was responsible for having the name
changed to “School of Music” and for establishing jazz courses. As a band
director, he brought many visiting conductors and composers in to share their
music with the band, and John Whitwell, band director from 1993 to the present
time, has continued this trend. Barbara Ward worked on the by-laws of the
School of Music with the faculty.

James Forger has always had a vision for the School of Music. The
Community Music School has been a large factor in positive publicity the school
has received, especially through Early Childhood Music and the MSU
Children’s Choirs. In spite of the economic downturn that began in 2000 and the
2003 Iraq war, Forger should be able to accomplish his goal of a new music
building. His efforts at fund-raising have been extraordinary, and these funds
are helping many students at all academic levels attend Michigan State. Jazz
as a degree program, instead of isolated courses, is also an accomplishment as
is the producing of complete operas.

It seems that music faculty have either stayed for their whole careers, or
have departed after a very short time. In reviewing the list of faculty, 10
professors served the university for 40 or more years;15 more served for 34 or

more years, and another 17 served 24 years or more. Almost 90 served five

209

 

years or less. The above numbers are despite salaries that have often been
less than spectacular. This document is a testament to those faculty who have
devoted their lives to making musicians and teachers of their students at
Michigan State.

Though the university now wants its faculty to do research, outreach, and
teaching, which are the missions of MSU, and have been since the beginning, I
believe the teachers who have had the most impact on their students have been
the ones who have challenged them to do their best, but have also been
available to them on a personal level. While researching this paper, I have
continually been amazed at the caliber of faculty over the years. It is not so
surprising now, since MSU has acquired a reputation for more than agriculture,
but even in the fifties, students were derided by others calling MSU a “cow
college” or Michigan’s “udder university.” Still housed in the first building on
campus built for the arts, its faculty have constantly produced teachers and
musicians who could make their way in the world despite the school’s humble
beginnings.

The outreach function of the university is well exemplified by the music
school. From sponsoring the rural extension program to the Summer Youth
Music Program, from the Arts Festival and Congress of Strings to the Church
Music Workshop, Piano Workshop and Jazz Workshop, and from students and
faculty being asked to entertain to Ralph Votapek playing in area nursing
homes, outreach is a powerful factor in the School of Music and always has
been. Though some outreach programs no longer exist, new ones have taken
their place. The whole Community Music School is an example, as was music
education’s Music for Children program headed by Bea Mangino. The band

and choir day camps for area middle school children that CMS puts on in the

210

-7 .1 'i u -.le 5.3.7

RFC—Li.

summer are also examples. The band puts on marching band camps every
summer and formerly held a marching band day during football season, when
the team was playing away from home. The change in the stadium from astroturf
to regular grass has meant that this could no longer be held. The two fall
semester choral events, the Leadership Workshop and the Choral Invitational,
are also important outreach programs.

All these things have happened despite almost continuous
overcrowding. Since the original music building was erected in 1939, there has
been only one addition, in 1956, which added lockers and practice rooms in the
basement; studios, two classrooms, a computer studio, and Hart Recital Hall on
the first floor; and one classroom, two piano labs, studios and offices on the
second floor. Roy Undenrvood complained in 1947 that the building was
designed for the use of 15 staff members and 100 students but was now serving
30 staff and 300 students. The addition was authorized in 1955. In 1969 the
new Music Practice Building was opened, which added considerable space at
the time, but it was soon outgrown. When the Community Music School was
added in 1993, its growth squeezed the already crowded facilities even more.
Graduate assistants shared offices, and choral assistants only had cubicles in
the Choral Library. Three and four assistants were squeezed into rooms that
originally had been meant for storage. Even more dramatic was the CMS’ need
for parking. Parents would bring children to lessons, classes, or choir, and there
was absolutely no place to park. Many would park illegally in the area between
the Music Building and the Music Practice Building, and the traffic jams there
were unsafe as well as illegal. The campus police were needed in the summers
to direct traffic for choir and band camps, in the morning when children were

dropped off, and again in the aftemoon when they were picked up. With the

211

move of CMS to the Timberlane campus, many of these problems should have
been solved, but parking is still an issue. Graduate assistants do have offices
again, and faculty each have their own offices now, but still all space is being
used and there is no room for growth. The promise of a new building in the
future is exciting and also much needed.

Former students are very supportive of their school. At least two hundred
marching band alumni retum to campus in the fall to play at a football game.
Another hundred return in the spring to give a concert. Still others particpate in
trips to Europe with the alumni band, a tradition started by Leonard Falcone and
continued by Kenneth Bloomquist. An alumni band European trip is scheduled
for June, 2004. According to Dale Bartlett, spaces on the next trip were filled
within two weeks of announcement of the trip. Those interviewed for this
document were uniformly positive about their experiences at MSU.

On a personal level, I have always been pleased with the education
provided me by Michigan State, and because I taught so long in New England, I
was able to compare my education with that of many teachers in the east. I
always felt that my background was solid. An important aspect to note is that
today’s undergraduate is being far better prepared, which makes. me very proud
of the current teachers and those who paved the way. A very important factor is
the number of observations students get in the public schools throughout their
careers in music education. Because these are part of every music education
class, students go out to student teaching with a much better idea of what they
are getting into. The music therapy program has also advanced considerably,
with students actually working with clients during their student career. Many of
the students majoring in performance arrive as freshmen with much higher

performance skills than those of earlier eras and graduate at an even higher

212

level. Many of the music education majors are also skilled performers.

The School of Music has been an effective teacher of thousands of
students over the years, and the vision and enthusiasm for the future are strong.
Hopefully someone will keep track of the history of the school during future
years. It is sad when records have been discarded because there was no place
to keep them. It is alo hoped that all communications will be dated, since many
were not in the past. The next historian should have an easier task of finding

material if the history is recorded a little at a time and kept up to date.

213

APPENDICES

214

 

APPENDIX A

UCRIHS PERMISSION AND SAMPLE LETTER OF CONSENT

UCRIHS APPROVAL F0
Jean I-I. Pickett THIS project EXPIRES:
1175 o Arbor om
East may m 4am
517332-9239.“ “AR 0 7 2002
wow mam" mum
one uoum montom
ABOVE mrsmcoumue

Dear Faculty Member:

IamwritingmydissertationonthehistoryoftheSchoolofMuslcatMichiganState
University. Since you have been here for a number of years, I’ would like very much to
Interview you concerning any memories you have that might be of historical interest. I
am particularly Interestedh thegrowthoftheschool, changes In programs, highlights
of your years here, and anything else you consider inportant.

You mayrefuse to answeranyquestionsorwithdrawfrom participation atanytime.
Although I would preferapersonal interview,youmayrespondto thequestions In
writing ifyou prefer, either by Ietterore-mail. The htervlew can be in person orby
telephone. You could also tape record your remarks. I would like to tape record the
hterview, but would only do so with your permission and would turn the recorder off
anytirneyouwished. Iwouldnotuseyournameorquoteyouwithoutyour
permission. Your privacy will be protected to the maximum extent allowable by law.

Assoonaslreceiveyourreplyhfliesefl-addreosedstampedenvelopeendosed,l
willcallyouto set up a time fortheinterview.. Feelfree to contact me atanytime ifyou
have questions. You indicate your voluntary agreement to participate by completing
and returning this form. For further concerns, please contact David E. Wright, Ph.D.,
Chair, University Committee on Research Involving Human Subjects. (517)355-2180.
You may also contact my advisor, Dr. Albert LeBlanc. 205 MB, 517-353-9118. This

approval expires March 10, 2001.
Thank you for your help.
Sincerely,

Jean H. Fickett (Ms.)

 

 

 

 

 

Name Phone

Years as a faculty member. 19

Courses taught:

Preferred method of communication: (circle) personal interview letter
telephone interview tape recording

215

 

 

OFFICE OF
RESEARCH
AND
GRADUATE
STUDIES

meantime"
neutral-vowing
limes-bled:

Mlchigm State University
246 ministratim Building
East Latsing, Michigan
48824-1046

517/35521!)
FAX: 51 ”353-2976
o: mount/mimic

MICHIGAN STATE
U N l V E R S l T Y
February20,2002

 

TO: Albert LE BLANC
149 Music Building
MSU ‘
RE: IRB # 98-766 CATEGORY: 1-C EXEMPT

RENEWAL APPROVAL DATE: February 20, 2002
TITLE: THE HISTORY OF THE SCHOOL OF MUSIC AT MICHIGAN STATE UNIVERSITY

The University Committee on Research Involving Human Subjects' (UCRIHS) review of this project
is complete and I am pleased to advise that the rights and welfare of the human subjects appear to
be adequately protected and methods to obtain informed consent are appropriate. Therefore, the
UCRIHS APPROVED THIS PROJECTS RENEWAL

RENEWALS: UCRIHS approval is valid for one calendar year, beginning with the approval date
shown above. Projects continuing beyond one year must be renmd with the green renewal form. A
maximum of four such expedited renewal are possible. Investigators wishing to continue a project
beyond that time need to submit it again for complete review.

REVISIONS: UCRIHS must review any changes in procedures involving human subjects, prior to
initiation of the change. If this is done at the time of renewal, please use the green renewal form. To
revise an approved protocol at any other time during the year, send your written request to the
UCRIHS Chair, requesting revised approval and referencing the project's IRB# and title. Include In
your request a description of the change and any revised instruments, consent forms or
advertisements that are applicable.

PROBLEMSICHANGES: Should either of the following arise during the course of the work, notify
UCRIHS promptly. 1) problems (unexpected side effects, complaints, etc.) involving human subjects
or 2) changes in the research environment or new information indicating greater risk to the human
subjects than existed when the protocol was previously reviewed and approved.

If we can be of further assistance, please contact us at 517 355-2180 or via email:
UCRIHS@piIot.msu.edu.

Sincerely,

I! , ‘ 42

Ashir Kumar, M.D.
UCRIHS Chair

AK: kb

cc: Jean Fickett
1175 D Arbor Dr.
E. Lansing, MI 48823

216

1850

1855

1856
1857

1 860

1861

1 862

1870
1870
1885
1888

1896

APPENDIX B

MILESTONES
The Michigan State Agricultural Society petitioned the Legislature to
found an agricultural college. Michigan’s second constitution directed the
Legislature to establish an agricultural school.
February 12, Governor Kinsley S. Bingham signed the law which
founded the Agricultural College of Mishigan. Land was purchased for
campus at its present location, which is now called East Lansing. '
Three buildings erected; first faculty appointed.
May 13, dedication services held with 63 students in attendance.

The college’s governing board reduced the curriculum from four years to 5
two. '

 

The Legislature restored the four-year liberal and scientific course of
study and created the State Board of Agriculture to govern the college.

President Lincoln signed into law the Morrill Land Grant Act, granting
lands in every state for the purpose of supporting colleges “where the
leading object shall be, without excluding other scientific and classical
studies and including military tactics, to teach such branches of Ieaming
as are related to agriculture and the mechanic arts... in order to promote
the liberal and practical education of the industrial classes in the several
pursuits and professions in life” (Blair and Kuhn, 1955, p.35).

Women admitted.

Ransom Brooks started the first Band.

Mechanical engineering curriculum added.

Spontaneous musical groups formed by students.

Course of study for women added, composed of work in home
economics,natural science, and the liberal arts. Long vacation was

moved from winter to summer. Maud Marshall, first faculty member in
music, gave piano lessons.

217

1902

1907

1910

1919

1921

1 923

1 925

1927

1 927

1928

1929

1 929

1 929

1930

1 932

1934

1938

Forestry curriculum added.

President Theodore Roosevelt delivered Commencement address at
Semi-Centennial celebration of MAC’s dedication.

Four-year veterinary medicine program added.

Department of music created with one professor. Credit given to both
men and women for music courses taken.

Applied Science Division created.

WKAR began broadcasting.

Name changed to Michigan State College of Agriculture and Applied
Science (MSC). First Doctor of Philosophy degree conferred. Curriculum
in business administration introduced, followed in the next decade by
those in public school music, medical biology, physical education, hotel
management, and police administration.

Lewis Richards hired as head of the music department; he hired Hope
Halliday, Arthur Farwell and Leonard Falcone immediately.

First music education courses and degree programs in music.

Michigan State Institute of Music and Allied Arts formed. This was union
of MSC music department and Lansing Conservatory.

Beaumont Tower erected on site of College Hall, the first structure in
America for the teaching of scientific agriculture.

First graduate in public school music, Herbert Fletcher.
Rural Extension Program in music begun.

Graduate work reorganized under a separate dean.
Michigan State Institute of Music and Applied Arts dissolved.

MSC music department accredited by National Association of Schools of
Music (NASM).

WKAR broadcast school music programs designed by extension
teachers.

218

 

1 938

1 939

1941

1941

1941
1944
1944
1946

1 955

1 955

1957
1960
1961
1969

1 972

1 979

1980
1981

1981

First graduate courses in music offered: Master of Music in Performance,
Composition, Music Education, and Musicology.

Music building erected - first building on campus for the arts.

Rural Extension Program transferred from Music Department to
Cooperative Extension Service.

Class piano instruction begun.

World War II decimated performing groups, leading to

Women admitted into concert band.

Music therapy program begun.

Summer Youth Music program begun by William R. Sur.

Michigan State College became Michigan State University: Centennial.
H. Owen Reed’s opera, Peter Holman’s Dream, (now known as Michigan

Dream) performed at Brody Hall.

Doctor of Philosophy programs begun in Composition and Music
Education.

Addition to Music Building completed.

First Fine Arts Festival; continued through 1970.
First Congress of Strings; continued through 1967.
New Music Practice Building erected.

Music for Children begun (predecessor of Community Music School.)
Girls admitted to marching band.

DMA degrees offered in conducting and performance. Master of Music in
Conducting offered.

Juilliard String Quartet in residence until 1986.
Church music curriculum dropped.

Bachelor of Music Program in Plano Technology adopted.

219

 

1982 First graduates with advanced degrees in condUcting.
Wharton Center dedicated.

1984 Music Department became School of Music.

1993 Community Music School begun.
Piano Technology degree program dropped when Jorgensen retired.

1995 Music library moved from Music Building to Main Library.

1997 PhD in musicology dropped.

2001 Degree program in Jazz Studies adopted.

 

220

28.
29.

50.

APPENDIX C

DOCUMENTS FROM RURAL EXTENSION SERVICE

Miss Marion Hillhouse, instructor in clothing; salary of $2100, beginning September, 1950._
Mr. John S. Page, six weeks work in summer school, $450.

Mrs. Dorothy B. Scott, Assistant Prof. Related Art for the Summer Session of 1950, salary
$400.00.

Miss Josephine Garvin, Instructor in Swimming, $2200 per year, effective September 1, 1950.

Hissfllmei Miles, Extension work in Music salary $2500 with an allowance of $500. to cover
necessary traveling expenses. Appointment effective September 1, 1950.

On motion of Mr. McPherson, it was voted to approve all the above requests for appointments.

RESIGNATIONS

 

1.

2.

Rise Edith Lindsay, Instructor in the Department of Physical Education, effective

, September 1, 1930.

Miss Jane Darland, Instructor in the Department of Physical Education, effective September l,
1930.

On motion of Mr. Brody, it was voted to accept the above resignations.

LEAVES

1.

Mr. Gifford Patch, Jr. from May 15th to November let, for the purpose of working with the
Michigan Elevator Exchange, the period of July lst, to November lst to be without pay.

On motion of Ir. McPherson, it was voted to approve the above request for leave of absence.

TRAVEL REQUESTS

l.

2.

Dr. Marie Dye, Denver,~Colorado, June 24th to 28th, National Meeting of the American Home
Economics Association, travel expenses only.

Mn. Mabelle Ehlers, same meeting, permission to attend, and absence from Commencement ex-
ercises authorized. No expenses paid by College.

Document re hiring of Mabel O. Miles and salary. From Faculty Records.

221

Via—r t - net-u .- ..a-min?“ fl

Map of Michigan showing counties served by Rural Extension Service.

Miles, (1971) pp. 103-117.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1. Arenac 1931-33 34. St. Clair 1932-35
2. Barry 1931-34 1937-61
1 943-64 35. St. Joseph 1 954-64
3. Bay 1931-62 36. Sanilac 1946-61
4. Berrien 1956-60 37. Shiawasee 1931-64
5. Branch 1935-64 38. Van Buren 1931-34
6. Calhoun 1929-30 39. Washtenaw 1932-37
1 938-64 40. Wayne 1 933-35
7. Cass 1937-64
8. Clare 1937-49
9. Clinton 1929-32
1936-64
10. Eaton 1929-31
1944-64
11. Genessee 1929-35
12. Gladwin 1954-62
13. Gratiot 1936-64
14. Hillsdale 1933-50
15. lngham 1934-37
1943-57 [ 30 I7
16. Iona 1934-36 j
1962-64 L 3i 3 l1
17. Iosco 1948-52 ; 3
18. Isabella 1940-44 :1
19. Jackson 1932-52 a“? 99 I9 ,_ at
20. Kalamazoo 1930-31 37 ,3 343
1940-43 ‘ l 2.1 3
21.Kent 1935-64 3,; 21 It, 7 37 Ll
22. Lapeer 1930-64 ‘
23. Lenawee1937-46 _ .4
24. Livingston 1929-59 / 41\l0 ’9 24
25. Midland 1931-35 7'
1960-64 .33 410 [o ’7 (367 6‘0
26. Monroe 1935-40 . , ,
27. Montcalm 1935-64 ‘/ 4 '35 51H 2% all/2

 

 

 

 

28. Newaygo 1961-64
29. Oceana 1937-44
30. Ogemaw 1937-63
31. Osceola 1962-64
32. Ottawa 1954-63
33. Saginaw 1929-56

222

 

APPENDIX D
LISTS OF FACULTY

lnfonnation from MSU Faculty and Staff Directories and Music Department

records. If no date is given, dates are not known. If one date is given with a

dash, only the hiring date is known. If SUBJECTS TAUGHT is blank, they are

 

not known.
ALPHABETICAL LIST OF FACULTY H

NAME YEARS SUBJECTS TAUGHT

Abbas, Philip 1927-29 Cello

Abel, Frederic 1916-18 Band, Choral

Adams, Dwight 2000-pres. Jazz trumpet

Adler, Marie Ann 1955-68 Extension and Music Education

Anderson, Waldie 1983-91 Voice

Aranyi, Francis 1939-41 Violin, Conducting

Armeling, Ethel 1950-90 Voice, Women’s Glee, Music Literature

Arnold, Corliss 1959-91 Organ, Theory, Church Music
Workshop

Autenrith, James 1953-59 Organ

Autrey, Byron 1953-90 Trumpet

Avsharian, Charles 2002-pres. Violin

Baber, Elsie 1943-49 Extension

Bagratuni, Suren 2000-pres. Cello

Bannon, Mary Frances 1941-66 Extension and Music Education, Piano

Barber, Ethel 1913-14 Piano

Barbour, J. Murray 1939-65 Theory, Music Literature: lst PhD in
Musicology in US

Bartlett, Dale 1969-97 Psychology, Chorus, Music Education,
Therapy, Asst Chr Pub Affs, 78-87,
Assoc.Chr.Admissions 87-88, Dir. Grad.
Studies, 88-90

Beachler, Kenneth 1984-86 Director of Wharton Center

Beene, Richard 1988-90 Bassoon, Theory

Begian, Harry 1967-70 Director of Bands

Belgrave, Marcus 1993-94 Jazz Trumpet

Bemis, Delia 1924-32 Violin

Benningfield, Paul 1974-81 Voice

Berlinsky, Dmitri 2001-pres. Violin

Berrnan, David 1954-55

223

Birdsall, Florence
Black, Mary

Blake, Ron
Bloomquist, Kenneth

Bodman, Lyman
Bodman, Virginia
Bonge, Dale
Borouchoff, Israel
Bowman, Martha
Bracey, Robert
Brandom, Sanford W.
Bredwell, Dean
Broadnax, Wesley
Brown, Harold
Brumbaugh, Shirley
Budrow, Winston Jack
Buggs, Claritha
Burkh, Dennis
Bursley, Lois
Campbell. Bruce
Campbell, Douglas

Campbell, Kristin P.
Campbell, Laura Lee

Carey, Tanya
Carman, Owen

Castelnuovo-Tedesco, M.

Catron, David

Cavitt, Mary Ellen
Celenza, Anna
Chevallard, Philip Carl
Ciacchi, Linda

Clark, Arthur J.

Clark, Gertrude
Clark, Robert A.
Cleaver, Gerald
Colber, Myron
Collinge, Mary Ann
Conway, Colleen

1 926-28
1 992-pres.
2001 -pres.
1 970-93

1 947-83
1 946-84
1 977-pre3.
1 974-92
1 988-89
1 997-pres.
1 957-59
1 979-84
2000-pres.
1 968-72
1 982-84
1 996-pres.
1 990-98
1 966-83
1 952-53
1 985-p res.
1 946-90

1 990-91
1 954-59
1 980-pres.
1 999-00
1 977-99
1 959-60
1 970-74
1979-1 988
1 988-2002
1 997-98
1 997-pres.
1 977-79
1 995-99
1907-1 6

1 922-29
1 968-71
1998-pres.
1 970-76
1 931 -41
1 998-01

Violin

Music Librarian

Jazz Saxophone

Director of Bands (70-78)(88-93); 77-
Assoc. Chair Public Relations; Chair
(1978-88)

Viola, Beaumont String Quartet
String Bass, Piano

Musicology

Flute, Richards WW Quintet

Visiting Professor of Bassoon

Voice

Music History

Recording Technician

Conducting, Band

Choral

Voice

String Bass

Voice

Orchestra

Theory

French Horn, Theory; Richards WW
Quintet

Piano Technician

Librarian

Harp

Cello

Cello

Distinguished Visiting Professor
Band, Marching Band

Assoc. Dir. Bands,

Assoc. Dir. School of Music

Music Education

Musicology

Asst. Director Bands

Theory

Chemistry Prof doing Band; also 1918-
19; 22-25; Orchestra 1914 and 1917
Piano

Music Education, Percussion

Jazz, Drumset

Music Education, Choral

Extension

Music Education

224

Cook, Wanda

Copes, Ronald
Corporon, Eugene
Cousins, Michael
Cox, Kenneth
Cresswell, Mary
Dahlberg, Ramona
Dan, Robert
DeRusha, Stanley
Dominguez, Peter
Donakowski, Conrad
Doss, Mark
Duerkson, George
Dumesnil, Maurice
Ebene,Jan
Edgerton, Lola

Ell, Frank
Ellinwood, Leonard
Elliott, William
Elson, Robert
English, Ron
Erbes, Robert
Evans,Joseph
Falcone, Leonard
Fanlvell, Arthur

Fennell, Frederick

Field, Grace

Finn, Stanley

Fletcher, William
Flood, Gordon

Forger, James
Fossenkemper, Marius
Freyhofer, Louise
Friedewald, Russell

Froude, Velma
Fuszek, Rita
Gaboury-Sly, Janine
Galloway, Robert
Gardner, Derrick
Gelispie, Randle
Gordon, Barbara

1 946-69

1 976-77
1 984-87
1 991 -92
1 997-98
1 997-98
1 965-66

1 989-pres.

1 978-83
1 984-96

1 982-2002

1 995-97
1 965-69
1 944-47

2001 -pres.

1914-

1 982-pres.

1 936-39
1 965-67
1 966-68
1 994-95
1 971 -96
1 941-84
1 927-67
1 927-39

1 983-84

1 942-47
1 949-61
1 943-45
1 960-62

1 979-pres.

1 928-34
1 902-1 9
1 948-85

1 947-76
1 957-64

1991-pres.

1 995-96

2002-pres.

1 997-98
1 945-48

Music Education (62-69); Extension
(46-62)

Violin, Beaumont String Quartet
Director of Bands

Voice

Jazz, Keyboard

Voice

Flute

Viola, Chamber Music

Director of Bands

String Bass

Musicology (Humanities 66-81)
Assistant Visiting Prof of Voice
Music Therapy

Piano

Oboe

Piano

Clarinet

Theory, History

Music Literature

Voice

Guitar and Composition

Music Education;

Piano

Director of Bands, Low Brass
Theory and Composition, History,
Conducting, Orchestra, Chorus

Orchestra & Wind Symphony - Visiting

Professor

Harp

Clarinet and Saxophone

Piano

Choral, Men’s Glee Club
Saxophone; 90-Director

Clarinet

Women’s Glee, Piano, (Home Ec)

Flute, Theory and Comp; Richards WW

Quintet

Harp (taught weekends)
Music Education
French Horn
Musicology

Jazz Trumpet

Jazz, Drums

Piano

225

 

an”... A'- uo .q

WMH‘AA5A‘ -

Gordon, Edwin

Gordon, Wycliffe 2000-pres. Jazz Trombone
Gosman, Alan 2001-pres. Theory
Graham, John 1988-89 Viola
Graveure, Louis 1928-32 Voice
Green, Patricia 1998-pres. Voice
Greenwell, Gean 1952-73 Voice
Gregorian, Leon 1984-pres. Orchestras
Gruett, Jon 1 982-83 Voice, Opera
Grunewald, Phyllis 1955-56 Piano
Haigh, Bertram 1941-44 French Horn
Hall, M. Eugene 1959-62 Jazz
Halladay, Hope 1928-29 Music Education
Halstead, Margo 1995-97 Carillonist
Hammill. Roseann 1962-91 Librarian
Harbison, Kevin 1992-94 Recording Technician
Harder, Paul 1945-73 Oboe in Richards Quintet, Theory
Harris, Dale 1941-42 Band
Harris, Henry 1955-65 Piano, 2 WKAR series
Harris, Robert A. 1970-77 Director of Choral Activities
Hart , Weldon 1957 Chair of Music Department
Hartfield, Paul 1994-96 Voice
Hartsuch, Bruce 1911- Chem. Prof. doing Choral
Hedrick, Peter 1961-63 Oboe
Helms, Marjorie 1994-95 Piano
Hegerberg, A. Thad 1974-78 Assoc. Director Bands
Heller, Lisa 1990-pres. Class Guitar
Helms, Marjorie 1994-95 Piano
Helton, Melanie 2001-pres. Voice
Henkel, Olive 1923-46 Voice
Herzberg, Jean 1980-85 Voice
Hodges, Gladys 1927-28 Violin
Hodgson, Walter 1959-63 Chair
1963-73 Music Literature, course for non-majors
Hoertz, Elsa 1928-29 Harp
Hosford, Philip J. 1991-95 Piano
Hull, Jean 1981-87 Piano Pedagogy
Humphrey, Betty 1928-30 Voice, Women’s Glee
Humphrey, Roger 1985-86 Guitar
Hurt, Phyllis 1979-80 Voice, Opera

2001-2003 Music Education

 

1965-pres. Theory, Comp

1991 -pres. Tmmpet

II’WII‘I, John 1964-66 Piano

Jackson, James Donovan 1948-53 Trumpet, Activity Band
Jennings, Harlan 1974-pres. Voice

226

Hutcheson, Jere
Illman, Richard

Jimenez, Raphael
Johnson, Jefferson

Johnson, Mark
Johnson, Theodore
Joiner, Jeannette
Jones, Donald
Jones, Gomer Ll.

Jones, J. Loren ,
Jones, Mary Chelf
Jones, Perry

Jones, Robert
Jorgensen, Owen
Juilliard String Quartet
Cariyss, Earl
Krosnick, Joel
Mann, Robert
Rhodes, Samuel
Kackley, Josephine

Kalumbu, Isaac
Kantner, Christopher
Khoma, Natalia
Killeen, Earle
Killeen, Fred

Killips, Rob
Kimmel, William
Kingman, Daniel
Kirk, Edgar L.

Kisselburgh, Alexander
Klausli, Richard E.

Klickstein, Jerry
Kofi, Francis
Koga, Midori
Kogan, Zinovy
Kraft, Edith
Kratus, John
Kroth, Michael

2001-pres.
1991-94

1 972-pres.
1 964-2003
1 975-77
1 964-65
1 938-77

1 962-82
1 955-59
1 977-78

1 977-79
1 960-94
1 980-86

1 929-43

1997-pres.
1 990-93
2000-pres.
1 908-1 0
1 91 0-16;
1 928-33
2002-pres.
1 935-46
1 954-55
1948-1 990

1 932-
1 947-79

1 983-89

1 993-

1 995-pres.
1929-33

1 974-81

1 994-pres.
2002-pres.

Conducting, Orchestra

Assoc. Director Choral Activities, Music
Educafion

Percussion, Music History IAH
Beaumont String Quartet; Theory
Music Education

Oboe

University Chorus, Music Lit, Orchestra
63-66

Voice, Choral Ensembles

Voice

Director Choral Activities; Music
Educafion

Opera, Voice

Piano Technology

Violin

Cello

Violin

Viola

Extension, Music Education, Women’s
Glee,

Ethnomusicology

Flute

Chamber Music, Cello
Chorus

Voice, Chorus, Glee Clubs

Jazz
Theory, Choral

Bassoon, Theory, Asst. Chair 78-82,
Assoc. Chair 82-87; Richards WW.
Quintet

Voice

Music History, A Cappella Choir;
Church Music

Guitar

African Drum, Jazz

Piano and Piano Pedagogy
Violin, Conducting

Piano

Music Education

Bassoon

227

 

Kuhlman, Carl
Lampl, Hans
Lange, Hans
Largey, Michael
Lake, William
Laverty, Lois
Le, Chan

Leach,Joel
LeBlanc, Albert

Lee, Dai Uk

Leffler, Mabel
Leventhal, Sharon
Lewsader, Donald
Liptak, David

Lipten, David
Lowerre,Kathryn
Luboshutz & Nemenoff
Ludewig-Verdehr, Elsa

Lulloff, Joseph
Lyras, Panayis
MacDonald, Patricia
MacDonald, Robert
Machtel, David
Mack, Ruth
MacKay, Francis
MacNair, Mary
Madden, John T.

Mancini, Albert
Mangino, Bea

Mannheimer, Frank
Mannings, Helen
Marsalis, Branford
Marshall, Maud
Martin, John

Martin, Pauline
Mather, W. Scott
Maxwell, Linn
McDermid, Charles

1 924-27
1 959-63
1 937-38
1993-pres.
1 981 -82
1 955-59
1 987-92

1 964-65
1 976-03

1984-90;
1 991 -pres.
1 91 2-1 8
1 997-00
1 981-83
1 976-80
1 999-01
2002-pres.
1 962-68
1962-pres.

1991 -pres.
2002-pres.
1 921 -

1 940

1 946-53

1 922-60

1 928-30

1 977-79

1 989-pres.

1 938-39
1 954-91

1 939-45

1 928-

1 996-2001
1 896-02

1 993-p res.
2002-p res.
2002-p res.
1 983-85

1 984-85

1 957-92

Band, Orchestra

Orchestra

Violin, Conducting, Orchestra
Ethnomusicology

Tuba and Theory

Voice

Piano Pedagogy, Young Pianists
Program

Percussion

Music Education; 1992-95-Assoc. Dir.
Grad. Stud.

Piano

Piano, Orchestra

Piano, Theory (home so)

Violin

Voice

Theory and Composition

Theory

Musicology

Duo Pianists

Clarinet; Richards WW. Quintet;
Verdehr Trio

Saxophone, Jazz

Piano

Voice, Theory, asst. to J.S. Taylor
Piano

Voice, Men’s Glee

Piano

Organ

Harp

Marching Band, Spartan Brass, Music
Education

Low Brass

Director- Music for Children (75-90);
Class Piano, Music Education
Piano

Violin

Saxophone, Jazz,

Piano (Home Ec), Chorus
Director- Comm. Music School;
Director of Admissions

Piano

Asst. Dir. Bands

Voice

Music Ed

228

an.-

 

McHenry, Geraldine 1925-28 Piano
McLellan, Ray 1997-pres. Carilloneur
Mead, Mildred 1919- Piano
Meadows, Eddie 1970-73 Jazz
1987-89 Visting Prof, Afro-Am Music
Mendenhall, Elizabeth 1954-55
Merrill, Myrtle 1955-61
Michelson, Steven 1984-90 Assoc. Dir. Choral Activities; Mus. Ed.
Miles, Mabel 1931-71 Extension and music education
Miller, Beverly 1959-62 Music Librarian
Miller, Julian 1945-46 Voice
Miller, Robert 1934- Harmony
Mitchell, Sherman 1994-95 Jazz Trombone
Moffitt, William C. 1961-69 Marching Band
Moon, Yong Hi 1986-91 Piano
1992-2002
Mora, Francisco 1993-pres. Jazz Percussion,
Moriarty, Deborah 1978-pres. Piano
Mosbach, Joseph 1928-29 Bassoon
Mukuna, Kazadi wa 1977-79 Ethnomusicology
Murphy, Barbara 1991-95 Theory
Murray, Alexander 1966-74 Flute; Richards WW. Quintet
Nathan, Hans 1946 -81 Musicology
Newman, Ron 1979-pres. Theory; Jazz Piano
Niblock, James 1948-85 Composition; Electronic Music; Chair
63-78; Theory
Nketia, J.H.K. 1997 Hannah Distiguished Professor of
Musicology
Nordholm, Harriett 1952-55 Music Education
Okun, Maury 1982-83 Trombone
Oliver, Mary G. 1946-47
Olson, Curtis 1976-2001 Trombone;
2001-pres. Assoc.Dir. Undergraduate Studies
Ordman, Ava 2002-pres. Trombone
Orrnand, Fred 1975-82 Clarinet
Osterhout, Paul 1979-80 Musicology
Owen, William 1934-37 Piano
Palac, Judith 1985-pres. Violin, Music Ed., Suzuki Program
Parker, Joseph 1969-70 Assistant Marching Band
Patton, Fred 1932-45 Voice, Chorus
Pearl, Frances 1928-29 Voice
Peebles, Will 1989-91 Music History
Pemecky, Jack M. 1957-60 Music Education
Perris, Arnold 1967-68 Musicology
Pfitzner, Suzanne 1946-51 Voice

229

 

 

Poterack, Kurt
Potter, Louis
Press, Michael
Price, Lucille
Randall, Donna
Rayl, David
Reed, H. Owen
Reed, Jonathan

Rejto, Peter

Renner, David ,
Renwich, M. Llewellyn
Richards, Lewis

Richardson, Florence
Richardson, John
Richmond, Edward
Rife, Jerry

Rivera, Diego

Roe, Rick

Rogers, Michael
Ruggiero, Charles
Russ, Eddie
Russell, Daniel
Sanders, Neill J.
Schatz, Elizabeth
Schellhous, Rosalie
Schultz, Donna
Schultz, Paul
Schuster, Alexander
Scionti, Silvio
Scott, Grace

Scott, Larida

Scott, Samuel
Shapiro, Barry
Shaw, Alison
Sherbum, Merrill
Sherman, Ann
Sherman, Richard E.
Sholl, Helen
Shunk, Gary
Sidnell, Robert
Siebert, Alan
Silberer, Howard
Silfies, George E.

1 990-91
1 953-77
1 928-38
1 939-45
1 983-86

2002-pres.

1 939-76

1 993-p res.

1 974-77
1 965-74
1 930-34
1 927-40

1 980-81
1 945-81
1955-60
1 981 -84

2002-pres.
2001 -pres.

1 984-85

1 974-pres.

1990-91
1977-81
1990-91
1949-53
1982-97
1980-81
1980-82
1929-53
1961-62
1 91 0-12
1937-38
1955-57
1985-88

1995-2003

1957-82

1 998-2001
1 993-pres.

1 928-55
1 998-

1 960-78
1 989-90
1 945-54
1 955-56

Theory
Cello, Orchestra 1953-59
Violin

Viola, Visiting

Director of Choral Activities
Composition; Acting Head 57-58
Assoc. Dir. Choral Activities; Music
Educafion

Cello

Verdehr-Renner Trio, Piano
Organ

Head, new Dept. of Music; Harpsichord,
Piano

Piano Pedagogy

Undergrad Piano Pedagogy
Choral

Musicology

Jazz Saxophone

Jazz Piano

Theory

Theory, Composition, Jazz

Jazz Piano

Chorus and Music Ed.

French Horn

Music Education

Musicology

Theory

Choral, Music Education

Cello, Orchestra

Piano

Piano

Viola

Percussion

Theory, Composition, Trombone
Flute

Flute, Richards WW Quintet
Organ

Jazz Piano

Music Education

Trumpet

Piano

Clarinet

230

 

Silfies, Sue T.
Simons, Edward
Sinder, Philip N.
Sly, Gordon

Smeltekop, Roger
Smith, Charles K.
Smith, Louis
Smith, Patrick
Song, Kyung Shun
Speight, Andrew
Spicer, Patricia
Stagliano, Alberto
Stanton, Margaret
Stanton, Philip
St. Clair, Carl
Stees, Barrick
Stein, Edwin
Stein, R. Keith
Stephens, John S.
Stolper, Daniel
Stover, C. Oscar
Stuart, Melanie
Stulberg, Julius
Sullivan, Mark

Sur, William R.
Svengaard, Cynthia
Swanson, Herbert
Taggart, Bruce '
Taggart, Cynthia

Tait, Catherine
Tate, Romeo
Taylor, John Seibert

Telder, Glenna
Thrasher, Elsie
Tims, Frederick

Tomasek, Jiri
Tonne, Keith
Tooley, Frederick
Uchimura, Bruce
Undenrvood, Roy

1 955-56

1 940-

1 982-pres.
1991 ,94,
1996-pres.
1977-pres.
1 978-2002
1 997-
2000-pres.
1 947-50

1 992-2000
1 945-46

1 928-29
1947-54

1 983-84

1 983-84

1 990-2002
1941 -42
1934-75

1 928-30

1 963-01

1 953-60

1 978-85

1 941 -45
1985-pres.

1 943-69
1 974-75
1 946-52
1 995-pres.
1 993-pres.

1977-80
1941-76
1919-27

1 963-65
1 937-46
1 995-pres.

1 995-96
1 990-94
1 949-55
1 983-84
1 940-62

Piano

Violin

Low Brass, Theory
Theory

Music Therapy

Dir. Choral Activities

Jazz, Brass

Jazz, Administrative Assistant

Jazz, Saxophone

Piano

French Horn

Librarian

French Horn

Band, Orch

Bassoon

Chorus, Glee Club

Clarinet; Music Ed; WW Quintet
Public School Music

Oboe

Marching Band

Music Ed, Violin,

Violin, Viola

Electronic Music, Theory; ‘92-Assoc.
Dir., Composition

Music Ed; Women’s Glee

Music Education, Elementary General
Voice

Theory

Music Ed., ‘95-99 -Assoc Dir. Graduate
Studies

Violin, Beaumont String Quartet
Violin, Orch, Beaumont String Quartet
Dept. Head, Voice, Band, Orchestra,
Chorus

Extension

Music Therapy; Assoc. Dir. Grad.
Studies-2000- present

Violin

Voice

Cello
Head, 40-57; Piano; Therapy

231

 

Unkefer, Robert F.

Van Emmerik, Dirk
Verdehr, Walter
Votapek, Albertine
Votapek, Ralph
Walden, Donald
Watkins, Armin J.
Wang, I-Fu

Ward, Barbara

Weber, Jon
Weissinger, Virginia
Westcott, Wendell
Whitaker, Rodney
Whitwell, John
White, Martha
Wiedrich, William
Wilcox, Eunice
Wiles, John
Wilkinson, Sunny
Williams, Robert
Wistinetzki, Ellen
Witter, Leona

Wolff, Ernst Victor
Wright, Dan L.
Wummer, John
Yoon, Doo Sun
Zajac, Elaine

Zara, Meredith
Zimmerman, Mildred

1 957-89

1 928-29

1 968-pres.

1981-99

1 969-pres.

1 990-92
1 957-59

1 980-pres.

1 982-93

2001 -pres.

1 930-33
1 935-78

1 996-pres.
1 993-pres.

1 947-71
1 982-89
1 966-70
1 968-73

1 997-pres.

1 990-91
1 944-45
1968-80
1 947-60
1 964-66
1 928-29
1 947-50
1 977-79
1 985-2001
1 966-75

Therapy; Assoc. Chair Undergrad.
Studies 78-83

Violin, Verdehr Trio

Piano

Piano;

Jazz and Comp.

Piano

Violin

Musicology; Assoc. Chair ‘87-88; Dir.
88-90

Percussion

Instrumental Music Ed.

Piano, Carrillon; Spartan Bell Ringers
Jazz Double Bass

Dir. Bands

Music Ed.

Assoc. Dir. Bands

Music Education

Voice

Jazz, Voice

Bassoon

Voice, Womens Glee
Piano

Opera Workshop
Flute

Saxophone
Voice
Music Education, Piano

232

LIST OF FACULTY BY DEPARTMENT (BY HIRING DATE)

Those marked with an (*) are support staff, rather than faculty.

Band
1907-1916

1916-1918
1918-191 9
1919-1922
1922-1925
1925-1927
1927-1967
1967-1970
1970-1978
1978-1983
1983-1984
1984-1987
1987-1993

1 993-P resent

Mumps!

1870-1907
1907-1916
1 916-191 8
1919-1922
1925-1927
1927-1967
1967-1970
1970-1977
1977-1978
1978-1979
1979-1988
1988-1989

1 989-Present

Stover, C. Oscar
Moffitt, William
Parker, Joseph
Catron, Dave
Hegerberg, Thad
Chevallard, Carl
Wiedrich, William

Arthur J. Clark, chemistry professor .First Faculty Director.
Frederic Abel

Arthur J. CLark

John Siebert Taylor

Arthur J. Clark

Carl Kuhlman

Leonard Falcone.

Harry Begian

Kenneth G. Bloomquist

Stanley DeRusha

Dave Catron - Acting Director of Bands
Eugene Corporon

Kenneth G. Bloomquist

John Whitwell

Band run by students and military officers
A. J. Clark also 1918-1919; 1922-1925
Frederic Abel

J. S. Taylor

Carl Kuhlman

Leonard Falcone

Harry Begian

Kenneth G. Bloomquist

Thad Hegerberg

Carl Chevallard

Dave Catron

William Wiedrich

John T. Madden

- r Ban
1953-60 (assisted Falcone)
1960-69 (assisted Falcone and Begian)
1969-70 (assisted Begian)
1970-74 (assisted Bloomquist)
1974-77 (assisted Bloomquist)
1977-78 (assisted Bloomquist)
1982-88 (assisted Catron)

233

. .,_.,.-,.

'Q ”Hi;- h—e... a?

WW

DeRusha, Stanley
Catron, Dave
Corporon, Eugene
Bloomquist, Kenneth
Whitwell, John
Broadnax, Wesley

3135.3.

Falcone, Leonard
Stagliano, Alberto
Mancini, Albert
Haigh, Bertram
Campbell, Douglas
Jackson, J. Donovan
Autrey, Byron
Sherbum, Merrill
Olson, Curtis

Lake, William

Okun, Maury
Sinder, Philip
Stanton, Philip
Siebert, Alan
Sanders, Neill
Gaboury-Sly, Janine
Illman, Richard
Ordman, Ava

Carilloneur ,
Westcott, Wendell
Halsted, Margo
McLellan, Ray

W
Marshall, Maud
Freyhofer, Louise
Killeen, Earle
Killeen, Fred
Scott, Grace
Hartsuch, Bruce
Abel, Fred
Taylor, J. Siebert
Fanrvell, Arthur
Humphrey, Betty

1 978-83
1 983-84
1 984-87
1 987-93
1 993-present
2000-present

1 927-1 947

1 928
1938-39

1 942

1 946-90

1 948-53

1 953-90

1 957-82

1 976-02

1 981 -82

1 982-83

1 983-present
1 983-84

1 989-90

1 990-91

1991 -present
1 991 -present
2002-present

1 935-78
1 995-97
1997-present

1896-02
1902-19
1908-10

1910-16; 1928-

1910-12
1911

1916-18
1919-27
1927-39
1928-30

234

Acting director

Assistant Director of Bands

Euphonium, brass

‘ Horn

Low brass
Horn
Horn
Trumpet
Trumpet
Trombone
Trombone
Tuba and theory
Trombone
Low brass
Horn
Trumpet
Horn
Horn
Trumpet
Trombone

 

Kogan, Zinovy
Kackley, Josephine
Patton, Fred
Kimmel, William
Jones, Gomer L.
Stein, Edwin

Sur, William
Machtel, David
Klausli, Richard
Armeling, Ethel
Richmond, Edward
Flood, Gordon
Jones, J. Loren
Brown, Harold
Witter, Leona
Bartlett, Dale
Colber, Myron
Harris, Robert A.
Russell, Daniel
Jones, Perry
Smith, Charles K.
Schultz, Paul
Michelson, Steven
Johnson, Jefferson
Reed, Jonathan

1 929-33
1 930-43
1 932-45
1 935-46
1 938-77
1 941 -42
1 943-69
1 946-53
1 947-79
1 950-90
1955-60
1 961 -62
1 962-82
1 968-72
1 968-80
1 969-97
1 970-76
1 970-77
1 977-81
1 977-78
1 978-02
1 980-82
1 984-90
1 991 -93
1993-present

Rayl, David 2002-present

momma

1936-41 William Kimmel

1941-43 Edwin Stein

1943-46 William Kimmel

1946-47 No conductor listed in Schedule of Courses

1947-48 Gomer Ll. Jones

1948-55 Richard E. Klausli A Cappella Choir- changed name to
State Singers.

Chorale

1970-77 Robert Harris

1978-02 Charles K. Smith

2002- present David Rayl

Chorus

1896-1902 Maud Marshall

1902-1908 Louise Freyhofer

235

 

1908-1910
1910-1916
1916-1917
1917-1919
1919-1927
1927-1933
1933-1939
1939-1941
1941-1943
1943-1947
1947-1948
1948-1977

1 982-present

2002-present
MenLe_G_|_ee_C_ll.I_b

1 91 0-1 3
1 91 3-1 4
1 914-1 6
1 91 6-1 8
1 918-1 9
1 91 9-27
1 927-32
1 933-39
1 939-41
1 941 -42
1 942-43
1 943-46
1 946-52
1 952-60
1 961 -62
1 962-66
1 966-67
1 967-68
1 974-75
1 978-82
1 982-83
1 983-84
1 984-90
1 990-93

1994- present

Earle Killeen

Fred Killeen

Fred Abel

A. J. Clark (during World War I)

John Siebert Taylor

Arthur Farwell

Fred Patton

William Kimmel

Edwin E. Stein

No chorus listed in Course of Studies (World War II).

Chous in Winter 47 Course of Studies.

Gomer LI. Jones I believe that at this point the University
Chorus, utilizing faculty, students and community, was born.
Gomer Jones conducted this until his retirement, performing
major works with orchestra.

Charles Smith formed the Choral Union, utilizing faculty,
students, and community.

David Rayl

Fred Killeen

Bruce Hartsuch

Fred Killeen

Fred Abel

A. J. Clark

John Siebert Taylor

Fred Killeen

Fred Patton

William Kimmel

Edwin Stein

William Kimmel

No Men’s Glee . World War II
David Machtel

Edward Richmond

Gordon Flood

J. Loren Jones

Adolphus Hailstork, Graduate Assistant
Alan Poland, Graduate Assistant
J. Harold Strohl

Paul Schultz

Will Nichols, Graduate Assistant
Len Riccinto, Graduate Assistant
Steven Michelson

Jefferson Johnson

Jonathan Reed

236

 

W

1 963-66
1 978-82
1 982-83
1 984-87

StatLSImra

1955-68
1 968-70
1 970-78
1978-84
1984-85
1 985-86
1986-87
1987-90
1 990-93

1 994-present

J. Loren Jones
Paul Schultz

Will Nichols
Steven Michelson

Richard E. Klausli

Harold F. Brown

Robert A. Harris

Charles K. Smith

Steven Michelson

Charles K. Smith

Michael Yachanin

Steven Michelson

Jefferson Johnson

Jonathan Reed

(Sean Wallace substituted during fall of 1999, while Reed
took Chorale during C. K. Smith’s sabbatical.)

W
1902-1919 Louise Freyhofer Began as a double quartet
1919-1 922 John Seibert Taylor
1922-1928 Probably no women’s glee
1928-1930 Betty Humphrey reorganized
1930-1933 Zinovy Kogan
1933-1943 Josephine Kackley
1943-1951 William R. Sur
1951-1978 Ethel Armeling
1978-1979 Daniel Russell
1979-1980 Charles K. Smith
Graduate Assistants from now on
1980-1981 Judith Capper
1981-1982 Judith Capper
1982-1983 Peter Hopkins
1983-1 984 Thomas Hart
1984-1 985 Anton Armstrong
1985-1 986 Anton Armstrong
1986-1 987 Allen Borton
1987-1 988 Lynda Wynbeek
1988-1989 Lynda Wynbeek
1989-1990 Lynda Wynbeek
1990-1991 Brad Richmond
1991-1992 Helen Van Wyck
1992-1993 Christine Leonard

237

 

 

 

1993-1994 Ron Wilcott
1994-1995 Karyl Carlson
1995-1996 Karyl Carlson
1996-1997 Karyl Carlson
1997-1998 Jeffrey Brown
1998-1999 Jeffrey Brown
1999-2000 Jeffrey Brown
2000-2003 Paul Hondorp
Quite:

Humphrey, Roger 1985-86
Klickstein, Jerry 1983-89
English, Ron 1994-95
11319

Hoertz, Elsa 1927-
Froude, Velma 1 947-76
MacNair, Mary 1976-78
Campbell, Lauralee 1980-present
Jazz '

l-lall, M. Eugene 1959-62
Meadows, Eddie 1970-73; 1987-89
Ruggiero, Charles 1974-
Newman, Ronald 1979-97; 2000-02
Dominguez, Peter 1984-96
Walden, Donald 1990-91
Russ, Eddie 1990-91
Lulloff, Joseph 1991 -
Belgrave, Marcus 1993-94
Kofi, Francis 1993-94
Mora, Francisco 1993-2002
Speight, Andrew 1993-2001
Mitchell, Sherman 1994-95

Whitaker, Rodney
Wilkinson, Sunny
Smith,Louis
Gelispie, Randle
Cox, Kenneth
Marsalis, Branford
Cleaver, Gerald
Shunk, Gary
Gordon, Wycliffe

Adams, Dwight

1996-present
1 997-present
1997-2000
1997-98; 2002-present
1 997-98
1 998-2000
1 998-2002
1 998-2000
2000-2002
2002 - Artist in Residence
2000-2002
238

‘3‘“ . 1

 

Smith, Patrick
Blake, Ron

Roe, Rick
Gardner, Derrick
Killips, Rob
Rivera, Diego

Librarians
Stanton, Margaret
Campbell, Lauralee
Hammill. Roseann
Black, Mary

W
Halladay, Hope
Stephens, John
Kackley, Josephine
Collinge, Mary Ann
Miles, Mabel

Stein, Keith
Thrasher, Elsie
Bannon, Mary Frances
Sur, William

Adler, Marie

Cook, Wanda
White, Martha
Nordholm, Harriett
Mangino, Bea

Fuszek, Rita
Pemecky, Jack
McDermid, Charles
Sidnell, Robert
Clark, Robert
Bartlett, Dale
Colber, Myron
Erbes, Robert
Svengaard, Cynthia
Joiner, Jeannette
LeBlanc, Albert
Russell, Daniel
Stuart, Melanie
Schultz, Paul
Michelson, Steven
Palac, Judith

2000-2002

2001 -present
2001-present
2002-present
2002-present
2002-present

 

1 948-54
1 954-59
1 962-91
1 992-p resent

1927-28

1928-30 Head

1929-55 Extension and Music Education, Head

1931-41 Extension

1931-71 Extension and Music Education

1934-75 Instrumental Music Education

1937-46 Extension

1941-66 Extension and Music Education

1943-69 Head, Choral Music Education

1944-68 Extension and Music Education

1946-69 Extension and Music Education

1947-71 Elementary Methods, Student Teachers

1952-55 Music for Elementary Teachers

1954-91 Class Piano, Methods, Music for
Children

1957-64 Music for Elementary Teachers

1957-60

1959-92 Secondary Methods

1960-78 Head, Research for grad students

1968-71 Instrumental Music Education

1969-97 Choral Music Education, Psychology

1970-76 Choral Music Education

1971-97 Head, Instrumental Music Education

1974-75 Elem. Music education

1975-77 Music education

1976-03 Research, Psychology

1977-81 Choral Music Education

1978-85 Music for Children/Suzuki

1980-82 Choral Music Education

1984-90 Choral Music Education

1985-pres. String Education, Suzuki

239

T2‘LJJ-O..fl.n9. tau-Insh-pmu-stnl
., l

Madden, John
Johnson, Jefferson
Reed, Jonathan
Taggart, Cynthia
Kratus, John
Cavitt, Mary Ellen
Conway, Colleen

Gordon, Edwin
Robinson, Mitchell
Goodrich, Andrew

Mum
Farwell, Arthur

Ellinwood, Leonard
Jones, Gomer LI.
Barbour, J. Murray
Nathan, Hans
Klausli, Richard
Brandom, Sanford
Hodgson, Walter
Elliot, William
Perris, Arnold
Mukuna, Kazadi wa
Osterhout, Paul
Bonge, Dale

Rife, Jeny
Schellhous, Rosalie
Ward, Barbara

Donakowski, Conrad

Peebles, Will
Largey, Michael
Galloway, Robert
Nketia, J.H.K.
Kalumbu, Isaac
Celenza. Anna
Lowerre, Kathryn

W

F. H. Hillman
Killeen, Fred
Clark, A.J.

1989-pres.
1 991 -93

1 993-pres.
1993-pres.
1994-pres.
1 997-98

1 998-2001

2001 -2003
2003-
2003-

1 927-39
1 936-39
1 938-77
1 939-65
1 946-81
1 947-79
1 957-59
1 959-73
1 965-67
1 967-69
1 977-79
1 980-90

Instrumental Music Education
Choral Music Education

Choral Music Education

Early Childhood, Elementary Methods
Head, Philosophy, M.S. Methods
Instrumental Methods
Instrumental Methods, Student
Teaching

Research

Instrumental Music Education
Music Education, Jazz

 

 

 

1977-present

1981-84
1982-96
1982-93
1982-02
1989-91

1993-present

1995-96
1997

1 997-present
1 997-present
2002-present

1888
1910-13
1914
1917

Student-led. 8 members
To accompany choral productions.

MAC Musical Society - all musical
groups. Orchestra disappeared during
World War I.

240

Taylor, J. S.
Farwell, Arthur
Lange, Hans
Schuster, Alexander
Potter, Louis
Lampl, Hans
Jones, Gomer LI.
Burkh, Dennis
Fennell, Frederick
Zearott, Michael
St. Clair, Carl
Gregorian, Leon
Jiminez, Rafael

Quinn

MacKay, Francis
Renwich, M. Llewellyn
Scholl, Helen
Autenrith, James
Arnold, Corliss

musics
Leach,Joel
Clark, Robert A.
Johnson, Mark
Shaw, Alison
Weber, Jon

Elana

Marshall, Maud
Freyhofer, Louise
Scott, Grace
Leffler, Mabel
Barber, Ethel
Edgerton, Lola
Mead, Mildred
Mack, Ruth
McHenry, Geraldine
Clark, Gertrude
Richards, Lewis
Owen, William
Westcott, Wendell
Mannheimer, Frank
MacDonald, Robert
Underwood, Roy

1 921 -27
1 927-37
1 937-38
1 938-53
1 953-59
1 959-63
1963-66
1 966-83
1 983-84
1 983-84
1 983-84

Came in 1929, no orchestra until 1938.

1 984-present
2002-present

1928-30
1930-34
1934-53
1953-59
1959-91

1964-65
1968-71

1 972-p resent

1995-2003

2001-present

1896-1902
1902-1919

1 910-12
1 912-1 8
1913 -14
1914-1 9
1919-
1922-60
1925-28
1924-29
1927-39
1934-37
1935-77
1938-45
1939-40
1940-62

241

 

rl-nflleu— r

Evans, Joseph
Fletcher, William
Dumesnil, Maurice
Gordon, Barbara
Spicer, Patricia
Silberer, Howard
Richardson, John Shelby
Bodman, Virginia
Wolff, Emst Victor
Harris, Henry
Grunewald, Phyllis
Scionti, Silvio
Luboshutz, Pierre
Nemenoff, Genia
Irwin, John

Renner, David
Zimmerman, Mildred
Votapek, Ralph
Kraft, Edith

Moriarty, Deborah
Richardson, Florence
Hull, Jean

Votapek, Albertine
Lee, Dai Uk

Moon, Yong Hi

Le, Chan

Hosford, Philip
Koga, Midori

Lyras, Panayis
Martin, Pauline

W
Stevens, Charles W.
Jorgensen, Owen
Peterson, Kristin
Campbell, Kristin
Murphy, Robert
Schneider, William

W
Platt, Mary

Dunn, Linda

Walsh, Kathy
MacMillan, Jill

1 941 -84

1 943-44

1 944-47

1 945-48

1 945-46

1 945-54

1 945-81

1 946-84

1 947-60

1 954-65

1 955-56

1 960-62

1 962-68

1 962-68

1 964-66
1965-74

1 966-75

1 968-present
1974-81

1 978-present
1 980-81

1 981 -87

1 982-95
1984-90; 1991-present
1987-91 ; 1992-2002
1 987-92

1 991 -95
1995-present
2002-present
2002-present

1 957-60

1960-94 (Faculty)
1 988-92

1 990-91

1 993-present
1993-present

1 984-91

1 991-98

1 998-2001
2001 -present

242

 

r hia"

Bredwell, Dean 1979-84

McDaniel, John 1984-99

Harbison, Kevin 1992-94

Traczynski, Jennifer 1999-present

Siting:

Bemis, Delia 1924-32 violin
Birdsall, Florence 1926-28 violin
Abbas, Philip 1927-29 cello
Hodges, Gladys 1927-29 violin
Press, Michael 1928-38 violin
Mannings, Helen 1928 violin
Kogan, Zinovy 1929-33 violin
Schuster, Alexander 1929-53 cello
Lange, Hans 1937-38 violin
Aranyi, Francis 1939-41 violin
Simons, Edward 1940- violin
Tata, Romeo 1 941 -76 violin
Stulberg, Julius 1941-45 violin, viola
Bodman, Virginia 1946-84 bass
Bodman, Lyman 1947-83 violin, viola
Potter, Louis 1953-77 cello
Verdehr, Walter 1968-pres. violin
Rejto, Peter 1974-77 cello
Copes, Ronald 1976-77 violin
Carman, Owen 1977-99 cello
Tait, Catherine 1977-80 violin
Wang, I-Fu 1980-pres. violin
Juilliard String Quartet 1980-86

Randall, Donna 1983-86 violin
Uchimura, Bruce 1983-84 cello
Dominguez, Peter 1984-96 bass
Shapiro, Barry 1985-88 viola
Graham, John 1988-89 viola
Dan, Robert 1989-pres. viola
Tomasek, Jiri 1995-96 violin
Budrow, W. Jack 1996-pres. bass
Leventhal, Sharon 1997-00 violin
Carey, Tanya 1999-00 cello
Bagratuni, Suren 2000-pres. cello
Khoma, Natalia 2000-pres. cello
Berlinsky, Dmitri 2001-pres. violin
Avsharian, Charles 2002-pres. violin

243

 

Ibeemadiompeeition

Leffler, Mabel
MacDonald, Patricia
Farwell, Arthur
Miller, Robert
Ellinwood, Leonard
Barbour, J. Murray
Reed, H. Owen
Campbell, Douglas
Friedewald, Russell
Kirk, Edgar
Niblock, James
Sherbum, Merrill
Arnold, Corliss
Johnson, Theodore
Hutcheson, Jere
Ruggiero, Charles
Liptak, David
Newman, Ronald
Schultz, Donna
Sinder, Philip
Michael, Rogers
Campbell, Bruce
Sullivan, Mark
Beene, Richard
Sly, Gordon
Murphy, Barbara
Taggart, Bruce
Ciacchi, Linda
Lipten, David
Gosman, Alan

1.11.932!
Underwood, Roy
Unkefer, Robert
Duerkson, George
Bartlett, Dale
Smeltekop, Roger
Tims, Frederick

1919.2

Killeen, Earle
Killeen, Fred

1912-1 8

1 921

1 929-39

1 934-

1 936-39

1 939-65

1 939-76

1 946-90

1 948-85

1 948-90

1 948-85

1 957-82

1 959-91

1 964-02

1 965-p resent
1 974-present
1 976-80

1 979-present
1 980-81
1983-present
1 984-85

1 985-present
1 985-present
1 988-90

1 990-91 ;1994-95;1 996-present

1 991-95
1995-present
1 995-99
1999-01
2001-present

1944-62
1957-89
1 965-69
1 969-97
1 977-present
1 996-present

1 908-10
1910-1 6
1928-33

244

o’.- 1'.‘l'.|lu.‘_|uot.moeslr q

a.” It

FF‘AI‘

Taylor, J. S.
MacDonald, Patricia
Henkel, Olive
Graveure, Louis
Humphrey, Betty
Patton, Fred
Miller, Julian
Swanson, Herbert
Machtel, David
Pfitzner, Suzanne
Armeling, Ethel
Greenwell, Gean
Jones, Mary Chelf
Laverty, Lois
Jones, J. Loren
Witter, Leona
Wiles, John
Jennings, Harlan
Benningfield, Paul
Hurt, Phyllis
Herzberg, Jean
Gruett, Jon
Anderson, Waldie
Brumbaugh, Shirley
Maxwell, Linn
Zara, Meredith
Buggs, Claritha
Cousins, Michael
Tonne, Keith
Hartfield, Paul
Doss, Mark

Tripp, Alva
Bracey, Robert
Cresswell, Mary
Green, Patricia
Helton, Melanie

Headwinds
Wummer, John
Mosbach, Joseph
Fossenkemper, Marius
Stein, Keith

Harder, Paul

Kirk, Edgar
Friedewald, Russell

1 91 9-27
1 921 -

1 923-46
1 928-31
1928-30
1 932-45
1945-46
1 946-52
1 946-53
1 946-51
1 949-90
1952-73
1 955-59
1 955-59
1962-82
1 968-80
1 969-73

1 974-present

1974-81
1979-80
1980-85
1982-83
1983-91
1983-84
1984-85
1985-01
1990-98
1991-92
1992-93
1994-96
1995-97
1997

1 997-2003

1997-98

1998-present
2002-present

1 928

1 928-

1 928-34
1 934-75
1 945-61
1 948-90
1 948-85

flute
bassoon
clarinet
clarinet
oboe
bassoon
flute

245

Finn, Stanley
Silfies, George
Hedrick, Peter
Ludewig-Verdehr,Elsa
Stolper, Daniel
Jones, Donald
Dahlberg, Ramona
Murray, Alexander
Borouchoff, Israel
Orrnond, Fred
Zajac, Elaine
Forger, James

Ell, Frank

Bowan, Martha
Beene, Richard
Kantner, Christopher
Williams, Robert
Lulloff, Joseph
Stees, Barrick
Sherman, Richard
Sherman, Ann
Ebene,Jan

Kroth, Michael

Information taken from concert programs to ascertain graduate student

conductors.

fiend

1870-1874 Ransom McDonough Brooks, ‘74 College Cornet Band
1874-1878 R. H. Gulloy

1885 Unit in Cadet Corps - Uniforms

1888 LE. Hill

1907 B. G. Edgerton

1907-1916 Arthur J. Clark, chemistry professor. First Faculty Director.
1916-1918 Frederic Abel

1918-1919 Arthur J. CLark

1919-1922 John Siebert Taylor

1922-1925 Arthur J. Clark

1925-1927 Carl Kuhlman

1927-1967 Leonard Falcone

1967-1970 Harry Begian

1949-61
1 955-56
1 961-63

1962-pres.

1 963-01
1964-65
1 965-66
1 966-74
1 974-92
1 975-82
1 977-79
1 979-90

1 982-pres.

1 988-89
1 989-90
1 990-93
1 990-91

1991-pres.

1991-02

1 993-pres.

1 998-01

2001 -pres.
2002-pres.

clarinet and saxophone
clarinet
oboe
clarinet
oboe
oboe

flute

rune

rune
clarinet
saxophone
saxophone
clarinet
bassoon
bassoon
fhne
bassoon
saxophone
bassoon
rune

fhne

oboe
bassoon

ENSEMBLE DIRECTORS

246

 

 

 

 

1970-1978 Kenneth G. Bloomquist

1978-1983 Stanley DeRusha

1983-1984 Dave Catron - Acting Director of Bands

1984-1987 Eugene Corporon

1987-1 993 Kenneth G. Bloomquist

1993-present John Whitwell

Mammy!

1870-1907 Band run by students and military officers

1907-1916 A. J. Clark also 1918-1919; 1922-1925

1916-1918 Frederic Abel

1919-1922 J. S. Taylor

1925-1927 Carl Kuhlman

1927-1 967 Leonard Falcone

1967-1970 Harry Begian

1970-1977 Kenneth G. Bloomquist

1977-1978 Thad Hegerberg

1 978-1 979 Carl Chevallard

1979-1988 Dave Catron

1988-1989 William Wiedrich

1989-present John T. Madden

AW

1953-1960 C. Oscar Stover Assisted Falcone

1960-1969 William Moffit Assisted Falcone and Begian

1969-1970 Joseph Parker Assisted Begian

1970-1974 Dave Catron Assisted Bloomquist, later became
Director

1974-1977 Thad Hegerberg Assisted Bloomquist, later became
Director

1977-1978 Carl Chevallard Assisted Bloomquist, later became
Director

1978-1986 William Wiedrich Assisted Catron, later became Director

    

' ‘

ha, Stanle . 978-83

     

l.

Rus
Catron, Dave 1983-84 acting director
Corporon, Eugene 1984-87
Bloomquist, Kenneth 1987-93
Whitwell, John 1993-present
Broadnax, Wesley 2000-present Assistant Director of Bands
EonaerLBand

In 1978 Stanley DeRusha began Wind Symphony and Symphony Band,

247

 

 

leaving Concert Band as a third band, where it had previously been the first.
1978-79 Carl Chevallard

1979-89 Dave Catron

1989-90 John Madden, Dave Catron

1990-91 Dave Catron, John Madden

1991-92 John Madden

1992-93 No concert book

1993-94 No concerts listed in book for this band

1994-95 John Madden

Graduate Assistants majoring in Conducting now conduct ensemble
1995-96 Wes Broadnax, Steven Ward

1996-97 Wes Broadnax, Steven Ward

1997-98 Joan deAlbuquerque, Douglas Keiser

1998-99 Wes Broadnax, Joan deAlbuquerque

1999-00 Wes Broadnax, Joan deAlbuquerque, William Peterson
2000-01 Scott Lubaroff, Gregory Wolynec

2001-02 Wes Broadnax (now on faculty), Rodney Schueller
2002—03 Wes Broadnax, Rodney Schueller

W

In 1978 Stanley DeRusha established a band for non-music majors, called
Repertory Band or Campus Band. At times there have been two bands. First
there was one on East campus and one on West campus. On other occasions, if
the band is too large for rehearsal space, it may be split and meet on two
different nights.

Green White
1978-79 John Duff David Sebald
1979-80 Dave Catron Dave Catron

1980-81 West-J. Joseph Laird East-Paul Olley
1981-82 No listing - G.A.’s
1982-83 No book available - G.A.’s

1983-84 Richard Blatti
1984-85 Richard Fischer
1985-86 Larry Harper, Keith Ramsden

1986-87 Gordon Brock, Keith Ramsden, R. Johnson, Ronnie Wooten
1987-88 NOW CAMPUS BAND William Wiedrich

1988-89 William Wiedrich
1989-90 John Madden, Royce Tevis
1990-91 John Madden, Royce Tevis, David Kehler

1991-92 Tuesday-David Kehler Thursday-Royce Tevis
1992-93 No book

1993-94 Michael Golemo, Gary Zick
1994-95 J. Robert Spence, Steven D. Ward
1995-96 Pat Haunschild, Scotty Jones

248

'~‘_- .I “of!

F111;. T: . 4 -.

 

1996-97 Nate Lampman, Wyatt Moerdyk, Cress Schwarz
1997-98 Wyatt Moerdyk, Cress Schwarz

1998-99 Ryan Hourigan, William Peterson, Steven Burian
1999-2000 Gregory Wolynec, Scott Lubaroff, Steven Burian

White- Scott Boerrna

2000-2001 Green- John Stanley Ross
2001-2002 Green- John Stanley Ross
2002-2003 Green- Paul Popiel

White- David Rogers
White- Tiffany Engle

Choral

mm:

1936-41 William Kimmel First mention of an a cappella choir.

1941-43 Edwin Stein

1943-46 William Kimmel

1946-47 No conductor listed in Schedule of Courses

1947-48 Gomer LI. Jones

1948-55 Richard E. Klausli A Cappella Choir changed name to
State Singers.

Statejingers

1955-68 Richard E. Klausli

1968-70 Harold F. Brown

1970-78 Robert A. Harris

1978-84 Charles K. Smith

1984-85 Steven Michelson

1985-86 Charles K. Smith

1986-87 Michael Yachanin

1987-90 Steven Michelson

1990-93 Jefferson Johnson

fiihlil-t. _ ' _

 

 

1994-present Jonathan Reed
(Sean Wallace substituted during fall of 1999, while Reed
took Chorale during C. K. Smith’s sabbatical.)

QbambeLQbeit

1978-1979

1979-1980

1980-1981 Mark Taylor

1981-1982 Judith Lefler

1982-1983 Charles K. Smith
Will Nichols

1983-1984 James Parker
Gail Johnson
Charles Livesay

1984-1985 Jan Eggers
Thomas Hart

249

1985-1 986

1 986-1 987
1 987-1 988
1 988-1 989

1989-1990

1990-1991

1991-1992

1992-1993
1993-1994

1 994-1 995
1 995-1 996
1 996-1 997
1 997-1 998
1 998-1 999
1 999-2000
2000-2001
2001-2002
2002-2003
Chorale
1970-77

1 978-2001
2002

2002- present

David Wallis
Sheila Campbell
Michael Yachanin
John Ross Miller
David Wallis
Lynda Wynbeek
Clayton Parr
Jonathan Reed
Michael Hayden
Kurt Amolsch

Don Graybiel

J. Ware

Kevin Dobreff
Christine Leonard
Jong Won Park
Timothy Bartlett
Charles Kamm
Mark Webb

Ron Wilcott
Jonghyun Kim
Bradley Creswell
Mark Hafso
Gerald Langner
Mark Jennings
Donna Green
Margaret Bragle
Christopher Aspaas
David Hein
Michael Bultman
David Scholz
Jon Jens

Jeffrey Brown
Kenton Barnes
Randi Grundahl
Todd Prickett
Sarah Graham
Simon Lee
Christopher Langsford
Jeff Buettner

Robert Harris
Charles K. Smith
Jonathan Reed
David Rayl

250

 

 

 

W

 

 

1981-1982 Dale Bartlett

1982-1983 Robert Ward, Thomas Hart l
1983-1984 Robert Ward l
1984-1985 Steven Michelson, assisted byThomas Hart 4
1985-1989 Steven Michelson

1989-1990 Steven Michelson, Don Graybiel

1990-1992 Jefferson Johnson

1992-1993 Now directed by graduate students

1993-1994 Lori Hetzel

1994-1995 Lori Hetzel F
1995-1996 Richard Bell i
1996-1997 Richard Bell 1
1997-1998 Richard Bell ..
1998-1999 Ben Komelis l
1999-2000 Jon Jenz Became Jazz Choir here. 1
2000-2001 Jon Jenz i
2001-2002 Sarah Hintz ,
2002-2003 Jeffrey Buettner

Chews

1896-1902 Maud Marshall

1902-1 908 Louise Freyhofer

1908-1910 Earle Killeen

1910-1916 Fred Killeen

1916-1917 Fred Abel

1917-1919 A. J. Clark (during World War I)

1919-1927 John Siebert Taylor

1927-1933 Arthur Farwell

1933-1939 Fred Patton

1939-1941 William Kimmel

1941-1943 Edwin E. Stein

1943-1947 No chorus listed in Course of Studies (World War II).

1947-1948 Chous in Winter 47 Course of Studies.

1948-1977 Gomer Ll. Jones I believe that at this point the University

Chorus, utilizing faculty, students and community, was born.
Gomer Jones conducted this until his retirement, performing
major works with orchestra.

1982-present Charles Smith formed the Choral Union, utilizing faculty,
students, and community.

2002-present David Rayl

MenLLGIeLQLub
1910-13 Fred Killeen
251

1913-14 Bruce Hartsuch
1914-16 Fred Killeen
1916-18 Fred Abel
1918-19 A. J. Clark
1919-27 John Siebert Taylor
1927-32 Fred Killeen
1933-39 Fred Patton
1939-41 William Kimmel
1941-42 Edwin Stein
1942-43 William Kimmel
1943-46 No Men’s Glee . World War II
1946-52 David Machtel
1952-60 Edward Richmond
1961-62 Gordon Flood
1962-66 J. Loren Jones
1966-67 Adolphus Hailstork, Graduate Assistant
1967-68 Alan Poland, Graduate Assistant
1974-75 J. Harold Strohl
1978-82 Paul Schultz
1982-83 Will Nichols, Graduate Assistant
1983-84 Len Riccinto, Graduate Assistant
1984-90 Steven Michelson
1990-93 Jefferson Johnson
1994- present Jonathan Reed
Singing—Statesmen
1963-66 J. Loren Jones
1978-82 Paul Schultz
1982-83 Will Nichols
1984-87 Steven Michelson
Merriam
1902-1919 Louise Freyhofer Double quartet
1919-1922 John Seibert Taylor
1922-1928 Probably no women’s glee
1928-1930 Betty Humphrey reorganized
1930-1 933 Zinovy Kogan
1933-1943 Josephine Kackley
1943-1951 William R. Sur
1951-1978 Ethel Armeling
1978-1979 Daniel Russell
1979-1980 Charles K. Smith
Graduate Assistants conduct this ensemble from now on.
1980-1981 Judith Capper

252

 

 

 

1981-1982 Judith Capper
1982-1983 Peter Hopkins
1983-1 984 Thomas Hart
1984-1985 Anton Armstrong
1 985-1 986 Anton Armstrong
1986-1 987 Allen Borton
1987-1988 Lynda Wynbeek
1988-1 989 Lynda Wynbeek
1989-1 990 Lynda Wynbeek
1990-1 991 Brad Richmond
1991-1992 Helen Van Wyck
1 992-1 993 Christine Leonard
1993-1994 Ron Wilcott
1 994-1 995 Karyl Carlson
1 995-1 996 Karyl Carlson
1996-1997 Karyl Carlson
1997-1998 Jeffrey Brown
1998-1999 Jeffrey Brown
1999-2000 Jeffrey Brown
2000-present Paul Hondorp
Qtebestra
F. H. Hillman 1888
Killeen, Fred 1910-13
Clark, A.J. 1914
1917
Taylor, J. 8. 1922-27
Fanrvell, Arthur 1927-28
Press, Michael 1928-29
1930-37
Lange, Hans 1937-38
Schuster, Alexander 1938-53
Potter, Louis 1953-59
Lampl, l-lans 1959-63
Jones, Gomer LI. 1963-65
Tata, Romeo 1965-66
Burkh, Dennis 1966-83
Fennell, Frederick 1983-84
Zearott, Michael 1983-84
St. Clair, Carl 1983-84

Student-led. 8 members; 2 violin l, 2
violin ll, 2 comets, Bass Viol, Clarinet
To accompany choral productions.
Occasional orchestras formed to
accompany musical productions.
MAC Musical Society - all musical
groups. Orchestra disappeared during
World War I.

First music department orchestra

Shared with Fanrvell

Press ill, Lange from Chicago
Symphony

253

Gregorian, Leon 1984-present

QamuLQLcheatta
Luis Milan, Jorge Richter 1993-94

Luis Milan, Jorge Richter 1994-95
En-Kuang Chung, William Crabtree, Timothy Dixon, Sung-Hyuk lm 1995-96
Ricardo Jamarillo, Douglas Morrison, Youqing Yang

William Crabtree, Timothy Dixon, Sung Huyk lm, David Matthies 1996-97
Glenn Klassen, David Matthies, Suzanna Pavlovsky, Youqing Yang1997-98
Jason Altieri, Chi Chung Ho, Darrin Kerr, Glenn Klassen 1998-99
Jason Altieri, Chi- -Chung Ho 1999-00
Jason Altieri, Dana Eckensburg, Claudio Gonzalez, Chi-Chung Ho 2000-01
Glenn Klassen, Richard Uren, Youquing Yang

Ihm r r

Dana Eckensburg, Raphael Jiminez, David Matthies, Youqing Yang 1998-99
Dana Eckensburg, Glenn Klassen, Raphael Jimenez, Youqing Yang 1999-00
Jason Altieri, Claudio Gonzalez, Chi-Chung Ho, Raphael Jiminez, 2000-01

Glenn Klassen, Richard Uren, Youqing Yang.

Jason Altieri, Laura Cooper, Chi Ching Ho, Glenn Klassen, Maxim 2001-02

Samarov, Rick Uren

Jason Altieri, Laura Cooper, Chi Chung Ho, Dirk Meyer, Maxim 2002-03

Samarov, Rick Uren

We
1959-62 M. Eugene Hall
1962- George West, graduate student-Teaching Assistant (TA)
1970- Bruce Early, graduate student- Teaching Assistant
1974 Charles Ruggiero - Improvisation Ensemble
1976-78 Burgess Gardner, graduate student (TA)
1978-80 Ronald Newman Jazz Bands I and II
1980-82 Ronald Newman Jazz Bands l and II

Mike McLeod Jazz Band III, graduate student (TA)
1982-83 Ronald Newman Jazzl

Joseph Lulloff Jazz II, graduate student (TA)
Mike McLeod Jazz III, graduate student (TA)

1983-84 Ronald Newman Jazzl

Joseph Lulloff Jazz II and III (TA)
1984-85 Ronald Newman Jazz l and II

William Rose Jazz lll, graduate student (TA)
1985-86 Ronald Newman I and H

Robert Harvey III, graduate student (TA)
1986-87 Ronald Newman land II

Frank Mantooth, l and Il, sabbatical replacement for

254

 

4’. “L .
p.
i

war.“ (swam: e Lull— p “iii-AL

1987-88
1 988-90
1 990-91
1 991 -92
1 992-93
1 993-94

1 994-96

1 996-97

1 997-1 998
1 998-2000
2000-2001

2001 -2002

2002-2003

Newman

Ronald Newman land Il

Ronald Newman I

Ronald Newman land lI

Combos - Green: Newman; White - Lulloff;
Ronald Newman I

Joseph Lulloff II

Andrew Speight I;

Andrew Speight and Marcus Belgrave Il
Andrew Speight I

. Joseph Lulloff II

Carl Knox lIl

Andrew Speight I

Joseph Lulloff ll

Andrew Speight coordinator of 2 bands and several
combos

Andrew Speight one band and several combos
Brantford Marsalis - Cobb Artist

Wycliffe Gordon Jazz Band I

Rodney Whitaker Octet l

Wycliffe Gordon Jazz Band I

Rodney Whitaker Jazz Band II and Octet 1
Ronald Newman Octet ll

Rodney Whitaker Jazz Band I and Octet I
Derrick Gardner Jazz Band II and Octet ll

Rob Killips Octet Ill

Rick Roe and Ron Blake share 5 combos
Wycliffe Gordon now Artist-in-Residence

255

rTf-‘unmm'AA-l

APPENDIX E

NUMBER OF CONCERTS AND RECITALS IN SELECTED YEARS

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Year Faculty Grad Undergr. Guest Ensem Jazz New
1962 14 3 23 10 12

1964 16 16 29 11 14 1
1975 27 35 79

1979 26 39 103 12 34 4
1981 27 39 89 13 27 4
1983 29 44 61 27 10 6
1985 38 42 77 5 47 10 6
1987 32 61 47 19 28 9 6
1989 25 62 51 34 7 5
1991 23 39 90 58 7 3
1 993 26 59 41 20 5

1995 32 67 60 14 31 7

1997 27 113 56 20 29 4 3
1999 20 99 64 9 23 3 4
2000 20 95 52 16 29 4 3
2001 21 102 50 11 32 5 5

 

 

This chart lists numbers of recitals given by faculty members, graduate students,

undergraduate students, guest artists, school ensembles, jazz groups, and

composition recitals of new music by composition students. These numbers are
from the bound concert and recital books, which are not necessarily complete.

TABLE 1. Concerts and Recitals

256

“J“- - ..um—A-nq

 

APPENDIX F

WKAR AND THE LECTURE-CONCERT SERIES

WJSAB

The early history of the school’s radio station began with MAC instructors
teaching military personnel and civilian students telegraphy and Morse Code
for use during World War I. More than 900 persons had completed courses. In
1917 a small ingenious group began to experiment with wireless transmissions
on the top floor of MAC’s wood shop.

“The idea of regular program broadcasting arose from a few pranks,”
wrote Frederic E. Holmes, MAC Class of 1923 and founding member of the
college”s Student Radio Committee, to John Hannah, Jan. 14, 1939 (WKAR,
75th Anniversary Bulletin , 1999, p. 4). Four students went to the English
Building and broadcast the Alma Mater and Fight Song under the name of Ward
A. Quartette in the spring of 1922. The response was not favorable! A week or
so later someone reversed audio circuits in a superheterodyne, fed their own
voices back into the oscillator circuits and sang some bawdy songs. They
wanted to transmit to Wells Hall students, but instead they were heard for a
radius of 15 miles. “This almost killed broadcasting at MAC before it was born!”
(WKAR, 1999, p. 4).

The first official college-sponsored broadcast was MAC President David
Friday’s fifteen minute Founder’s Day Speech on May 13, 1922. The speech
could be heard on a crystal set within a radius of 500 Miles. WKAR, the third
oldest station in Michigan, the second in the Lansing area, and the first
educational station, was licensed on August 18, 1922, with unlimited air time,

broadcasting from 111 Olds Hall. Air time was later severely curtailed.
257

 

 

 

The station experimented with broadcasting different events, including
sports. WWJ, from Detroit, donated its old transmitter in 1924, and Consumers
Electric donated a new tower. In the fall of 1924, a student-faculty committee
organized the first radio series over WKAR. Music was important in the
schedule, with the MAC band playing for an entire evening. In 1927, auxiliary
studios were set up in the “new armory,” gym, and band rooms.

In 1934, Robert J. Coleman was appointed station director. Coleman was

‘fi'l

the financial director of the Michigan Institute for Music and the Applied Arts,
and it is his mementoes of the trip to the Salzburg Mozarteum that appear in this
paper, donated by his daughter, Sue Johnson. Coleman became the “heart and
soul” of the station (WKAR, 1999, p. 6). By 1936 the station was broadcasting 50
programs a week. This included home economics and agricultural programs as
well as Saturday afternoon symphonies and concerts by high school
orchestras. It was the first in the state to have a wake-up disc jockey show and
the first to present a music education program, Adventures in Music.

In 1947 WKAR received a permit for a non-commercial FM station, which
went on the air in October, 1948. The station was very important over the years
to the music department, broadcasting student performances and faculty
recitals. Henry Harris, piano professor, gave a series of concerts with lectures
about the music for years. In 1970 WKAR became one of the charter member
stations of National Public Radio (NPR). In 1978 a fire in the WKAR-FRM-TV-
Radio Talking Book transmitter caused three million dollars in damages, but
they were back on the air three weeks later.

Don Pash, musical director for WKAR, impacted music from the 19503
until his retirement in 1987. Pash graduated from Northwestern with both

bachelor’s and master’s degrees in music, earned a PhD from the University of

258

 

Edinburgh, did further graduate work at other places, Including Juilliard, and
studied conducting with Pierre Monteux. He then studied television producing at
Syracuse University, and took a job at Michigan State. He produced a recital
program on television 52 weeks a year, and in so doing, helped launch the

careers of Jessye Norman, Emmanuel Ax, and Yo-Yo Ma, to name but a few.

 

Bright young graduate students, like Charles Ruggiero and Ron Newman,
worked with Pash as graduate assistants. Pash’s retirement closed an era of
special musical interest at MSU.

In the 19803, three quarters of WKAR’s budget came from state and

1 D 5“" 0i.e

federal funding. By the end of the 19903, fifty per cent of the budget came from

listeners and local businesses and by 2003 sixty percent came from those two

 

“1'

sources. Though the FM station plays classical music almost exclusively, it no
longer has close ties to the music department. WKAR-TV did, however, produce
a video on the making of Ellen Taafe Zwilich’s Fourth Symphony, The Gardens,

in 2001. Alumni Jack and Dottie Withrow commissioned this piece for the

 

School of Music, and it was premiered by the MSU orchestra and choruses,

including the MSU Children’s Choir, conducted by Leon Gregorian.

MW
On June 12, 1912, the governing board of MAC authorized a blanket tax
of $2 per term, or $6 per year, for student activities. Of this money, $5 went to the
Committee on Athletics and $1 to the Committee on Liberal Arts (Luedders, ed.,
1988, p. 7). After arranging for 700 chairs to be brought to the Armory, the
committee decided on the first years’ program. Five lectures were held and two
music programs. One hundred dollars was appropriated for a winter concert

and $400 for a May Festival led by A. J. Patton and Fred Killeen. The subsidy

259

allowed the directors to hire professional soloists to supplement the student
choruses.

In 1916, John Lomax of Texas received $50 for presenting his program,
“The Songs of the Cowboy,” and the Minneapolis Symphony appeared in
Prudden Auditorium in Lansing, jointly sponsored by MAC and a civic group. In
1920 MAC sponsored regular professional musical entertainment.

When the State Board of Agriculture established the first Department of
Music in 1919, with J. S. Taylor as head and lone professor, courses could be
offered to all students, not just those in the Women’s Division. Though there was
still no major in music, the College Glee Club and Mandolin Club began touring
the state in 1919 and appeared on the Lecture-Concert Series in 1920.

In 1923 A. J. Clark, head of the chemistry department and director of the
band, brought the Chicago Symphony for two concerts in May, held in the
College Gymnasium (now I-M Circle). The performances were so well received,
the Symphony returned the following year.

In 1925 when MAC’s name was changed to MSC, the Arts Council
changed its name to MSC Artists Course. When Peoples Church was finished
in 1926, many concerts were held there, with its good acoustics and seating for
1500. The Chicago Symphony played there in 1926.

Lewis Richards was equally interested in bringing great musicians to
campus, so he cooperated with the Artists Course. Demonstration Hall, newly
built in 1927, was the site of two concerts by the Detroit Symphony. The matinee
performance was done especially for children, a new concept. The evening
concert was also unique, because faculty members performed with the
symphony. Lewis Richards played harpsichord, and Arthur Farwell conducted

the orchestra in a premiere of one of his works.

260

 

1!“

 

The Student Council then proposed adding $1.50 to the annual fee to
bring six to ten artists to campus the following year. This was passed and led to
the establishment of a concert series operated by the Music Department.

The Minneapolis Symphony appeared in 1930 with Alexander Schuster,
cellist, who was a member of the MSC faculty. In the following year the

Michigan State Institute of Music (the union of the college and Lansing

 

Conservatory) tried to start another concert series, but it failed, due to the
depression (Luedders, ed., p.11). The College Concert Course, subsidized by
the students, continued until 1940, presenting performances either in Peoples

Church or Demonstration Hall.

 

In 1940 the College Auditorium was completed and it was dedicated by EU
Eleanor Roosevelt. The building had been partly financed by the Public Works ' 7
Administration Building Program, one of the steps taken by President Franklin
Roosevelt to get the country out of the Great Depression of 1929. Unfortunately,

World War II (1941-45) had decimated the college population by 1943, so Roy
Underwood and Dean Stanley Crowe, chairman of the board of the Arts
Council, decided to combine the lectures and concerts into one series. MSC

President John Hannah agreed to appropriate $10,000 for the “Culture Series.”

 

Students were admitted free, but townspeople paid admission. According to
Clarice Thompson, whose father was on the faculty then, the cost was about
$25 per person for a season ticket. (Personal interview.)

After the war, the great influx of students, faculty, and townspeople
caused a further change. The Lecture-Concert Series was divided into an A and
B series. Season tickets were sold for one half of the Auditorium only, with the
other side reserved for students. Performers over the years included the

Philadelphia, Cleveland, and New York orchestras, the Chicago Symphony,

261

opera companies, the Ballet Russe de Monte Carlo, soloists like Lily Pons, Ezio
Pinza, Kirsten Flagstadt, Marian Anderson, Jose Iturbi, Fritz Kreisler, Jascha
Heifetz, Artur Rubenstein, and Isaac Stern, plus lectures, travelogues, and
foreign films.

In 1956, after the name change to MSU, Dean Crowe retired and Wilson
B. Paul was appointed director of the Lecture-Concert Series. By this time a
Division of lntemational Studies had been created. Because of this, Paul
emphasized bringing more foreign talent. The Auditorium had been improved
by adding risers, better lighting, carpet, and better acoustics with an adjustable
fiberglass shell. The Royal Danish Ballet, the Berlin Philharmonic directed by
Herbert von Karajan, the Dancers of India, the Royal Shakespeare Company of
England, and the Pognan Choir of Poland were a few of the offerings.

Paul also organized a special series featuring Asian, Latin-American,
and African performing arts, beginning in 1963. Ravi Shankar, the Indian sitarist
who influenced the Beatles, appeared on this series.

Broadway productions were also brought to the University Auditorium,
as well as operas. In 1970 a Beethoven Bicentennial festival was held. Cellist
Jacqueline DuPre'and pianist Daniel Barenboim began the festival. Barenboim
also conducted the Chicago Symphony in two concerts of Beethoven’s works.

Paul retired in 1971, and Kenneth Beachler was appointed Director of
the Lecture-Concert Series. Beachler continued the A and B series for two
years and then changed the format to a University Series, similar to past
concerts, and a Lively Arts Series, for lighter entertainment.

In 1976 when the members of the Juilliard String Quartet were artists-in-
residence, they performed all of Beethoven’s string quartets in Fairchild

Theater, a smaller hall at the far end of the main Auditorium,thch shared the

262

 

 

T’..‘L..av -
t

same stage. This was arranged by Kenneth Beachler, director of the Lecture-
Concert Series. Beachler also set up an office for student management and
house control, to increase students’ awareness of the programs.

The Foreign Film Series started by Dean Crowe was replaced by the
“Director's Choice Film Series,” which included the best of both American and

foreign films. Dance workshops started by Wilson Paul were continued. The

 

World Travel Series remained very popular.
Ground breaking for the Clifton and Delores Wharton Center for the

Performing Arts was held on July 19, 1979, with President Emeritus John

:. Ina-L. ...a-In. G-fifi

Hannah speaking. Hannah said: “It (the performing arts center) will make

available opportunities for all students, and all townspeople, and all the people

WWW”- -

in middle Michigan and elsewhere to better appreciate why the performing arts
are of first importance” (Luedders, ed., 1988, p. 67). Later Hannah added: “It is
an appreciation of music, dance, and dramatics, and all the arts, that equalizes

people” (Luedders, ed., 1988, p.71).

 

Kenneth Beachler, head of the Lecture-Concert Series, wrote about

Clifton Wharton daring to push the project in 1971, while so many thought of

 

MSU as only vocational and sports-minded, barely tolerating the .arts
(Luedders, ed., 1988, p.67). Many different venues had been used for concerts
over the years: the Old Armory, Prudden Auditorium in Lansing, the I-M Circle
Gymnasium, Lansing Eastern High School, Demonstration Hall, Peoples
Church, Jenison Fieldhouse, the lower pool at I-M Circle, and Munn Sports
Arena, used when the University Auditorium was flooded. The University
Auditorium had been built as a “multi-use facility,” for college dances,
commencements, registration, major speakers, Farrners’ Week, and the

Lecture-Concert Series. This necessitated a full-time concert manager, plus a

263

building manager and a stage manager, but they still had trouble fulfilling all the
diverse needs. Therefore the Wharton Center has been a much needed answer
for a home for the performing arts.

The dedication of the Wharton Center was held in September, 1982,
eleven years after Clifton Wharton first started pushing for it. The Chicago
Symphony Orchestra was chosen for the opening program. It had been one of
the first professional orchestras to play at Michigan State and had returned to
play several times over the years. Wharton Center has increased the scope of F

the cultural offerings at MSU.

 

264

APPENDIX G

GRADUATION AND ENROLLMENT STATISTICS

Key to abbreviations

NASM
HEADS
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MA
MVI
PhD
DMA
p9“

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T-C
M’ology
Then
Cond.
Perf
Perc.

Degs
P.Ped.

Tech
Accomp.

National Association of Schools of Music
Higher Education Arts Department Survey
Bachelor of Arts

Bachelor of Music

Master of Arts

Master of Music

Doctor of Philosophy

Doctor of Musical Arts

Public School Music; also ME (Music Education) or
MusEd

Performance; also Appl.
Theory-Composition; when separated, Theo, Comp
MusicologY; also M’ogy

Music Therapy; also MT

Conducting

Performance; also called Applied
Percussion

Summer term

Fall semester

Degrees

Piano Pedagogy

Woodwinds

Piano Technology

Accompanying

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274

APPENDIX H
GROWTH OF THE INTERNATIONAL STUDENT POPULATION
Part I

Totals from selected years for entire university

1867 1
1900 3
1920 16
1930 18
1940 35
1950 390
1960 506
1970 1194
1975 1124
1980 1406
1985 1985
1990 2282
1995 2521
1997 2823
1998 2747

PA

 

lnfonnation from lntemational Student Center

TABLE 10. Growth of the lntemational Student Population

275

 

APPENDIX H

GROWTH OF THE INTERNATIONAL STUDENT POPULATION
Part 2

Totals from selected years for the School of Music

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

1 INTERNATIONAL STUDENTS
Year Performance MusEd Therapy T-C Other Total
1981 5 2 1 1 3. 12
1985 17 2 2i 2 4 27
1986 16 2 j 3- 4 25:
1987 23 3 I 1 4 31*
1988 25 5 2] 3: 2 37:
1989 25 5 2; 8i 5 43‘
1990 29 4 3i 4 4 44s
:1991 35 l 1: 1. 2 39:
1992 39 7I j 7I 1 53
-1993 42 4 2! 6i 3! 57
1994 38 i 8; 1! 4' 51'
i 1995 no information j 1 N
1996 65 8' 1 ofmj 5: 87
1997. 69 8 117““”1I 6? 95
19981 - 61 __ S; 5! 1} BI 81

 

TABLE 11. lntemational students enrolled in the School of Music. Information
from the lntemational Center.

276

 

 

APPENDIX l

AWARDS AND SCHOLARSHIPS

Walter Adams Memorial Endowed Scholarship in Marching Band. This
scholarship was established in memory of Walter Adams, professor of
economics from 1947 to 1993, and 13th president of the MSU from 1979
to 1980. He ‘was a loyal patron of the marching band and athletic teams.
The award is given to a member of the Spartan Marching Band who

demonstrates academic excellence.

Carl and Alleah Anneling Graduate Voice Fellowship. Ethel Armeling, MSU
School of Music faculty member for 40 years, has established this award
in her parents’ names to honor their support and encouragement of her
musical career. This fellowship, awarded to one or two applicants a year,
is intended to benefit a graduate voice student who demonstrates

scholastic excellence and financial need.

Gerald Bartlett Memorial Scholarship. Gerald Bartlett was a graduate of MSU
and an outstanding Michigan music educator. The criteria for this
scholarship are as follows: preference should be given to an
upperclasssman majoring in instrumental music education, who is

outstanding in musicianship, scholarship, and leadership.

Kenneth G. Bloomquist Endowed Fellowship in Wind Conducting. This
scholarship program was established in honor of Kenneth G. Bloomquist

in recognition of his long-standing and significant contributions to the
277

 

 

MSU Bands, the MSU Alumni Band, and the MSU School of Music. He is
known nationally and internationally, serving as an officer in many
professional organizations, including: Big Ten Band Directors
Association, Academy of Wind and Percussion Arts Board, American
Bandmasters Association, National Band Association and National
Association of Brass Bands of America. This scholarship is intended to
serve as an encouragement to students who have demonstrated the
initiative, motivation, and capacity to achive demanding educational and

professional goals.

Pat Carrigan Endowed Woodwind Scholarship. This award was created by Pat
Carrigan, the first woman elected to the MSU Board of Trustees and first
woman chairperson. As a former Trustee, she has seen firsthand the role
of the School of Music, and the importance of the study of music at a
land-grant university. The award will be given to an outstanding
woodwind major to encourage students who have demonstrated the
initiative, motivation, and capacity to achieve demanding educational

and professional goals.

Dick Charles Endowed Scholarship in Saxophone Studies. This scholarship
program was established by the family and friends of Dick Charles in
recognition of his passion and love for music. Charles Radwanski
matriculated to MSC in 1939 from the Detroit area. He immediately
established a very successful dance band, the Dick Charles Band,
named for his band manager, Dick, and himself, and soon he became

known as Dick Charles. Following his graduation he married Ruth Minks,

278

also a 1947 MSC music graduate in piano and organ, and moved to
California. After establishing a successful large show band in the
Hollywood area under the Dick Charles name, they found it appropriate
to legally become Mr. and Mrs. Richard Charles. Dick and Ruth had a
most successful musical life, including the Charles Music Store and
Studio and the Big Band of Dick Charles. Their performances continued
until Dick’s untimely death in 1994. This scholarship is intended to attract
and retain highly talented students with an interest in saxophone studies

and performance.

The Ruth Minks Charles Endowed Scholarship in Piano. Mrs. Charles
established this scholarship fund in piano to preserve a legacy of piano
studies for future generations of MSU students. These prestigious
fellowships permit advanced students to study with faculty who foster

their professional and artistic growth.

Catherine Herrick Cobb Fellowships. These scholarships, established by Mrs.
Cobb, enable exceptionally talented musicians to pursue advanced

study in the musical performing arts at MSU.

Catherine Herrick Cobb Scholars in Music. This fund was established by the
Herrick Foundation in honor of Catherine Herrick Cobb, a 1934 graduate
of MSU. Grants are awarded to full-time undergraduate or graduate
students to recognize exceptional musical talent and to encourage the
most promising students of music and the performing arts to attend the

university. Awards are based on the following factors: financial need,

279

strong scholastic performance, performance level, talents or
achievements in school or community, citizenship activities, leadership,
and perseverance and resourcefulness. Grants may take the form of
graduate assistantships, cover expenses related to career

development, or pay tuition, books, and living expenses.

 

Robert and Caroline Coleman Memorial Scholarship in Strings. Robert
Coleman was the treasurer of the Michigan State Institute of the Arts and
later worked for MSC. Richard and Suzanne Johnson honor the
memory of her parents with this scholarship, awarded yearly to graduate

string performance majors on the basis of their musical and performance

 

potential and their prospective contributions to the orchestra and

chamber music programs at the School of Music.

Mary Nelson Eidson Piano Scholarship. This scholarship was established by

 

her husband John in recognition of her significant and lifelong interests
in music. Both Mary, her husband Robert, and their eldest son John
graduated from MSU, Mary as a music major. She played piano and

organ and sang in church choirs. l

Emil G. and Doris E. Ellis Family Endowed Scholarship in Music Education.
This was established in honor of Doris Ellis by her husband Emil and
their children. Doris and Emil, who died in 1996, met at MSC in the early
19405 when they were both music education majors. They both had
successful careers in music before entering the field of insurance and

investments.

280

 

 

 

 

Leonard Falcone Memorial Award. Leonard Falcone was the director of bands
at MSU from 1928 to 1968. He was one of the world’s most
accomplished euphonium performers. For 40 years he guided the
development of the MSU department of music and the band, which grew
from 65 to more than 300 members. In 1984 he was named to the
National Band Association Hall of Fame, joining such musical luminaries

as John Philip Sousa and Henry Fillmore.

The John Gulash Memorial Scholarship. This award was established by John’s
parents in memory of their son, who was killed in a motorcycle accident
accident between his freshman and sophomore years. This award is to

be made to a student who plays trumpet or comet in the School of Music.

Paul Harder Fellowship. This is awarded to an outstanding graduate student
with demonstrated potential for high achievement in composition and
music theory. This fellowship honors the distinguished theorist and
composer Paul Harder(1923-1986) who taught at MSU from 1945 until
1973. Professor Harder is especially remembered for his series of
innovative music theory texts, his compositions, and his administrative

abilities.

Stanley and Selma Hollander Endowed Scholarship for First Chair in Cello. Dr.
and Mrs. Hollander were both faculty members at MSU, he in the
Department of Marketing in the Eli Broad College of Business, and she in

the department of Home Economics. The Hollander Scholarship is

281

awarded to music majors serving as principal cello in the MSU

Symphony Orchestra.

Dorothy Carr Houvener Memorial Scholarship. Established by Russell W.
Houvener in memory of his wife, this scholarship is designed to
encourage students who have demonstrated the capacity and the
motivation to achieve their educational and professional goals.
Houvener scholarships are awarded to outstanding undergraduate
students who have demonstrated promise for careers in French
language instruction, instrumental performance, music education, or

composition.

The Colin Kerr Memorial Scholarship. Colin Kerr was a mellophone (marching
French horn) player in the Spartan Marching Band from 1989 to 1991.
Colin’s father, Richard Kerr, has established this gift in memory of his
son. Mr. Kerr directed that “the Spartan Marching Band director grant the
award each year to a student who has the same zeal and enthusiastic
sense of humor that Colin did each day at rehearsal.” His dedication to
the Spartan Marching Band was exemplary and will always be

remembered by the Colin Kerr Memorial Award recipient.

Margaret Ballard Kraeer Piano Scholarship. This award was established by
John Kraeer in memory of his mother, who served the same church as
organist for 62 years. John studied piano, which he played at all his high
school functions. After the Army, he studied Business Education at MSU,

receiving two degrees, and working in the College of Business Student

282

 

 

Im‘

 

Affairs Department. He currently studies piano with Deborah Moriarty.

The Stephan and Josephine Ludewig Memorial Scholarship. This award was
established by Walter and Elsa Ludewig-Verdehr to honor the memory of
her parents. Walter is an MSU professor of Violin, arriving in 1968, and
Elsa, on the faculty since 1962, is a Distinguished University Professor of
Clarinet. The scholarship is awarded to a deserving and diligent

clarinetist in the graduate program and is applied to tuition costs.

Mackey-Niland Award. The Mackey-Niland Award in Music Education is given
to a promising upperclassman majoring in music education. It was
established by Dr. E. James Potchen, MSU professor of radiology, to
honor Mrs. Clare Mackey and Mrs. Martha Niland. Students beginning
the sequence of upper division courses in their major - including
conducting, methods, and pedagogy courses 4 are eligible. The award is
based on academic excellence, performance skills, and promise as a

music educator.

The MSU Choral Society Graduate Assistantship. The MSU Choral Society is a
not-for-profit organization established to support and enhance the choral
program at MSU. Over the years, the society has sponsored concerts and
fund-raising events in order to provide scholarships and graduate
teaching assistantships for talented voice and choral conducting

students.

283

School of Music Minority Scholarship. Venice L. Peek, formerly development
director for the College of Arts and Letters and currently Director of West
Coast Development for MSU, established this annual scholarship for a
student enrolled in the School of Music in the College of Arts and Letters,
with preference given to a minority student. The Director of the School of
Music shall select the scholarship recipient from the programs of greatest

need within the School of Music

Music Study Club of Metropolitan Detroit Scholarship. The recipient must be an
outstanding music major and a citizen of the United States, with

preference given to Michigan residents.

John Newman Memorial Scholarship in Clarinet. The John Newman
Scholarship is awarded to an outstanding graduate student in clarinet
performance. The student selected should hold the leadership qualities,
academic achievement, and proficiency on the clarinet that were just
some of the outstanding traits of John Newman, who died tragically in an

automobile accident in 1988.

Niland Family Award in Music Education. Martha and Paul Niland actively
support and admire the music program at MSU and in the East Lansing
community. Mrs. Niland, an accomplished singer, has studied voice
throughout the years. She has performed with her church choir, the MSU
Choral Union, and with many local choral groups. The Nilands’ love of
music and their concern for its future have inspired this gift. The recipient

is selected on the basis of academic excellence, performance skills, and

284

promise as a music educator, as determined by the Director of the
School of Music. Students beginning the sequence of upper division

courses, including methods, conducting, and pedagogy, are eligible.

Elizabeth R. Stanaway Nordlund Endowment. Elizabeth and her husband
Richard Nordlund have established a deferred gift to be used for voice
scholarship or programming to promote the educational development of
vocal students in the School of Music. The gift will encourage students
who have demonstrated the capacity to achieve educational and
professional goals, and who have the motivation to achieve those goals,

as well as the initiative to seek opportunities to further their progress.

Paxton Scholarship. This is awarded to an outstanding student in the School of
Music who has demonstrated initiative, motivation, and capacity to

achieve demanding professional goals.

Maurice D. Pelton Endowed Scholarship in Music Studies. This scholarship is
given in memory of Maurice D. Pelton by his wife and sons, all MSU
graduates. After graduating in music education and teaching music, he
received an MA in Education and finally a Doctor of Education degree in
1966. He worked for the Waterford, Michigan School District as Director
of Elementary Education until his retirement. The recipient of this
scholarship shall be a junior or senior level brass major, with preference
given to a trumpet player with an interest in jazz studies, with a minimum

3.0 grade point average.

285

Presser Foundation Award. The Presser Scholarship, sponsored by the Board
of Trustees of the Presser Foundation, is awarded annually to an
outstanding music major at or after the end of her or his junior year in

recognition of excellence in the field of music performance.

Lewis Richards Memorial Award. The Lewis Richards Memorial Award
recipients are selected by the voice faculty. The award is given in
memory of the former director of the School of Music to promising vocal

performance majors with demonstrated proficiency.

Leo and Dorothy Rohrstock Memorial Scholarship in Voice. This scholarship is
intended to aid and encourage singers who have demonstrated the
capacity to achieve educational and professional goals, and who are
seriously motivated to pursue a career in voice performance and/or
education. The recipient is a student enrolled in the voice program in the
School of Music and is selected as determined by the Director of the

School of Music.

Alexander Schuster Principal Violinist Award. This award was initiated by
William David Brohn (MSU 1955) and is given in memory and honor of
Alexander Schuster, MSC professor of music from 1929 to 1952, in
recognition of his lifelong commitment to education and excellence as a
scholar and teacher. While a student at MSC, Brohn studied conducting
with Professor Schuster,who was a major influence and mentor for many
students in the department of music. The recipient of the Schuster Award

is chosen by the MSU Symphony Orchestra conductor, and must be a

286

music major and member of the MSU Symphony Orchestra serving as

principal violin.

The William B. Stutler Marching Band Scholarship. William Stutler was a
student at MSU from 1956 to 1961 and received both bachelor’s and
master’s degrees. He performed two years as a twirler with the band and
two years as drum major. He spent his fifth season as an assistant to
band director Leonard Falcone. Scholarships are awarded to two
marching band members. The drum major is always considered first as
one of the recipients, but if need is not shown, the director of the

marching band has the prerogative to select another band member.

Romeo Tata Graduate Fellowship in Music. This fellowship was established by
the family of Dr. Romeo Tata, professor of music at MSU from 1941 to
1976. During his tenure, he taught violin and music theory, served as
chairperson for the violin area, and conducted the MSU orchestra. Dr.
Tata was founder of the Michigan String Teachers Association in 1949.
He also served with the Lansing Symphony for 26 years, 21 as conductor

and 5 years as concertmaster.

Helen Tretheway Endowed Voice Scholarship. Helen Tretheway graduated
from MSC in 1948 in vocal performance. She continued studies at the
Chicago Conservatory of Music, and then taught at the School for the
Deaf and Blind in South Carolina. Returning to Michigan, she worked
with the visually impaired for 20 years in the Saginaw Public Schools.

This scholarship was established to benefit worthy and capable voice

287

students in the School of Music.

Josef and Elfriede Verderber Award in Violin. This scholarship was established
by Walter Verdehr, professor of violin since 1968, to honor the memory of

his parents. It is to be awarded to a deserving and diligent violinist.

Ralph Votapek Endowed Scholarship. This award was initiated to honor Ralph
Votapek, MSU professor of piano and artist-in-residence, in recognition
of his longstanding and significant contributions to the Greater Lansing
Community and MSU. Votapek, professor of piano and artist-in-
residence at MSU, received a bachelor’s degree from Northwestern
University and master’s in music from the Manhattan School of Music. He
also studied at the Juilliard School of Music. He was the first winner of
the Van Clibum lntemational Quadrennial Piano Competition in 1962.
The scholarship is awarded to graduate students pursuing a master's

degree in music.

John B. and Beverly A. Webb Spartan Marching Band Scholarship. This
scholarship was established by generous supporters of the Spartan
Marching Band, John and Beverly Webb. Applicants for this award must
have a cumulative MSU grade point average of 2.0. Recipients shall be
selected on the basis of current membership in the Spartan Marching
Band, with a preference to musicians who play a lower brass instrument

and demonstrate financial need.

288

Frank and Ruby Zara Memorial Scholarship in Voice. This scholarship,
established in honor of the parents of Meredith Zara, professor emeritus
of voice, is intended to encourage students who have demonstrated the
capacity to achieve educational and professional goals, the motivation to
achieve these goals and the initiative to seek opportunities to further their
progress. The recipients are voice majors enrolled in a master'sprogram,

or upper level voice majors, with a preference for sopranos.

289

APPENDIX J

FACULTY WHO SERVED FOR 25 YEARS OR MORE

W
Ethel Anneling

Douglas Campbell
Joseph Evans
Leonard Falcone
Edgar Kirk

Elsa Ludewig-Verdehr
Ruth Mack

Mabel Miles

Keith Stein

Wendell Westcott

IlllfllLEOJJLQLMQLe
Corliss Arnold
Lyman Bodman
Virginia Bodman
Russell Friedewald
Jere Hutcheson
Ted Johnson

Bea Mangino
Hans Nathan
James Niblock
Owen Reed

John Richardson
Daniel Stolper
Romeo Tata
Walter Verdehr
Ralph Votapek

W
Dale Bonge

Robert Erbes
Roseann Hammill
Paul l-Iarder

Harlan Jennings
Mark Johnson
Gomer Jones

Owen Jorgensen
Richard Klausli

290

 

Albert LeBlanc
Curtis Olson
Charles Ruggiero
Merrill Sherbum
Helen Sholl
Roger Smeltek0p
Robert Unkefer

291

 

APPENDIX K

MISCELLANY

W

John S. Taylor (1919-27)
Lewis Richards (1927-40)
Roy Underwood (1940-57)
Weldon Hart (1957)

H. Owen Reed (1957-58)
Walter Hodgson (1958-63
James Niblock (1963-77)
Kenneth Bloomquist (1978-88)
Barbara Ward (1988-90)
James Forger (1990-)

. . n '. i
1960 Ernst Victor Wolff

1962 H. Owen Reed

1975 Gomer Llywellyn Jones
1979 Elsa Ludewig-Verdehr
1992 Ralph Votapek

1997 Deborah Moriarty
1999 Leon Gregorian

2003 John Whitwell

292

 

WW

1984
1985
1987
1994

Dorothy Delay
Clare Fischer

Charles Hoffer
William Brohn

WW

1995 Joseph Lulloff
1996 Cynthia Taggart
1998 Michael Largey
1998 Leon Gregorian
2002 Anna Celenza
W
1993 Wendell Westcott
1995 The Verdehr Trio

1970
1976
1984
1991
1997
1999

MSU Choral Union

Community Music School

ra

Robert Shaw

Leonard Falcone
Juilliard String Quartet
Dorothy DeLay
William David Brohn

Clare Fischer

293

 

._ _
l' .'l

19.;l;'. l

1997 Elsa Ludewig-Verdehr
WM
1857-1859 Joseph R. Williams
1859-1862 Lewis R. Fisk
1862-1884 Theophilus C. Abbot
1885-1889 Edwin Willits
1889-1893 Oscar Clute
1893-1895 Lewis B. Gorton
1896-1915 Jonathan L. Snyder
1915-1921 Frank S. Kedzie
1921-1923 David Friday
1924-1928 Kenyon L. Butterfield
1928-1941 Robert S. Shaw
1941-1969 John A. Hannah
1969-1970 Walter Adams
1970-1978 Clifton R. Wharton, Jr.
1978-1979 Edgar L. Harden
1979-1985 Cecil Mackey
1985-1992 John DiBiaggio
1992-1993 Gordon E. Guyer
1993- Peter McPherson

294

 

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Barber, RE. (1976). A comparison of the history of the departments of music at
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Blair, L. and Kuhn, M. (1955). A short history of Michigan State, East Lansing:
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Britton, A. (1984). "The place of historical research in graduate programs in
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Claudsen, W. D. (1965). The history of the Crane department of music, the
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Harrison, A. D. (1986). A history of the University of Illinois School of Music,
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Hill, E. B. (1968). Historical highlights at Michigan State University and in areas
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Jefferson, R. (1951). Music in Texas higher institutions, 1840-1947, (Doctoral
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Jensen, B. W. (1990). College music on the Konza Prairie: a history of Kansas
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Kuhn, M. (1955). Michigan State: the first hundred years. East Lansing:
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Luedders, A. R. ed. (1988). Seventy five years of performing arts at Michigan
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MSU Today. Published seven times a year by the Division of University
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Michigan State University Commencement Bulletins, 1929-2002.

Michigan State University Faculty and Staff Directories. 1930-2002.

Miles, M. O. (1964). A report of the rural extension program, 1929-1964.
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Music Notes, magazine of the School of Music at Michigan State University,
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Muses, magazine of the College of Arts and Letters, 1987-2002, published by
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Noll, V. (1968). The Preparation of Teachers at Michigan State University. East
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The Record, January, 1940. Publication of Michigan State College.

Rainbow, E. L. and Froelich, H. C. (1987). Research in music education, New
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Roberts, C. (1968). The history of the Louisiana State University School of
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Seventy Five Years of Performing Arts at Michigan State. University, A. R.
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Smith, M. l. (1983). The development of the music therapy program at
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Stanford, L. O. and Dewhurst, C. K. (2002). MSU Campus. East Lansing, MI:
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Swingle, M. (1973). A history of the Florida State University School of Music,
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Abstracts lntemational, 34-10, 6693.

Turrentine, E. M. (1973). “Historical research in music education.” Bulletin of the
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Wallace, P. J. (1990). The history of a school instrumental music program,
Pontiac, Michigan, The Dale C. Harris Era, 1926-1960. Kent, Ohio:
published by author.

Welch, M. D. (1973). The life and work of Leonard Falcone, with emphasis on
his years as director of bands at Michigan State University. (Doctoral

dissertation, University of Illinois, 1973). W
International 3442. 7814

Williams, B. G. (1983). A history of the Louisiana State University School of I;
Music, 1955-1979. (Doctoral dissertation, Louisiana State University, 5
1983). QieeertationAbstraoteJnternationaMS-OL 113.

WKAR Radio, 1922-1998. Anniversary publication, 1998.

 

The Wolverine, yearbook of MSC and MSU, 1922, 1924, 1928, 1929, 1940,

1952.
INTERVIEWS
Aaron, Suzanne Alumna
Armeling, Ethel Emeritus faculty
Arnold, Corliss Emeritus faculty
Autrey, Byron Emeritus faculty
Bartlett, Dale Emeritus faculty
Black, Mary Music librarian
Bloomquist, Kenneth Emeritus faculty
Bodman, Lyman Emeritus faculty
Bodman, Virginia Emeritus faculty
Bracey, Robert Faculty and former student
Burton, Suzanne Alumna
Campbell, Lauralee Faculty
Catron, Dave Emeritus faculty
Crane, Maurice Emeritus faculty

299

Dionese, Margaret
Erbes, Robert
Forger, James
Goldsworthy, Richard
Gregorian, Leon
Hoffer, Charles
Hutcheson, Jere
Jennings, Robert
Johnson, Bea
Johnson, Theodore
Johnson, Sue
Johnston, Al
Kabodian, Judy
Kirk, Edgar
LeBlanc, Albert
Lulloff, Joseph
Madden, John
Mangino, Beatrice
Nash, Gary
Newman, Ronald
Niblock, James
Okada, Jun

Olson, Curtis
Palac, Judith
Pelton, Dorothy
Pelton, Maurice
Reed, Jonathan
Reed, H. Owen
Ruggiero, Charles
Schneider, William
Smith, Charles K.
Smeltekop, Roger
Sullivan, Mark
Thompson, Clarice
Topliff, Roger
Verdehr, Elsa
Verdehr, Walter
Whitaker, Rodney
Wilson, Marvin
Wilson, Mary
Winter, Dean

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