Susan Avery (music education) hosted the Music and Lifelong Learning Symposium held in the Whalen Center in September. The symposium brought together researchers, educators, practitioners, community music leaders, and amateur and professional musicians to share research and ideas about the role and importance of music across the life span. The three-day event included research presentations, teacher/practitioner interactive sessions, and performances. The faculty-staff chorus VoICes, led by Avery, performed for the opening session. The symposium presenters, their affiliations, and their topics can be found on the School of Music’s website at www.ithaca.edu/music/education/symposium.
Verna Brummett (music education) conducted the Lee’s Summit Youth Chorale and Symphony holiday concerts in Missouri and two elementary all-county choirs in New York State.
Kim Dunnick (trumpet) presented a clinic titled “Reclaiming the Chops: How to Build and Maintain Your Embouchure after a 20-Year Hiatus” at the 2007 International Trumpet Guild Conference.
Richard Edwards (music education) completed a Ph.D. in music education from the University of North Carolina at Greensboro and presented his dissertation research entitled “The Neurosciences and Music Education: An Online Database of Brain Imaging Research” at the Perception and Cognition Special Research Interest Group of the National Association for Music Education (MENC) convention. He also coauthored a chapter with Donald Hodges titled “Neuromusical Research: An Overview of the Literature” for the recently published book Neurosciences in Music Pedagogy.
Richard Faria (clarinet) gave the West Coast premiere of Roberto Sierra’s Sonata for Clarinet at the annual International Clarinet Conference in Vancouver, British Columbia. He also performed with the Arielle String Quartet at Bard College’s summer music festival in Sag Harbor, New York, and at the Garth Newel Music Center in Warm Springs, Virginia.
Mark Fonder (music education) presented lectures on band tone and school band literature at the International Wind Festival of the British Association of Symphonic Bands and Wind Ensembles in Glasgow, Scotland. He also guest conducted the Manchester-Sheffield Universities Honors Band at the International Wind Festival. He is a member of the MENC Centennial History Symposium planning committee.
Janet Galván (music education, choral conducting) conducted all-state choruses in Kansas, Tennessee, and Maine. She was a headline clinician for the Texas Music Educators Association and conducted the women's honor choir of the American Choral Directors Association (ACDA) Northwestern Division. Galván was recently appointed to the artistic advisory board of the Young People’s Chorus of New York City. She served as artistic director of the Hawaii Music Festival and will direct the ACDA Multicultural Honor Choir in Avery Fisher Hall this May.
Michael Galván (clarinet) performed the clarinet concerto Black Dog by Scott McAllister with the Cornell Wind Ensemble and the Gerald Finzi clarinet concerto with the Cayuga Chamber Orchestra.
Jairo Geronymo (piano) and Jeffery Meyer presented a multimedia program on Piazzolla in collaboration with the Smithsonian at the NAMAC National Conference in Texas. He performed Beethoven’s Choral Fantasy with the Northwest Sinfonietta in Seattle and Tacoma, and joined Diane Birr and Deborah Martin on a four- and six-hands program entitled “Three Is Better than One” at the State University of New York (SUNY) at Geneseo. In March he and Deborah Martin opened the Finger Lakes Environmental Film Festival with a multimedia production based on West Side Story.
Jennifer Hayghe (piano) directed the piano program at the American Festival of the Arts in Texas, a program which brings high-level musical training to underrepresented communities. She performed a recital at the University of Houston Summer High School Piano Institute and was a featured artist at Pianofest in Georgia. In the spring she gave master classes and recitals in Costa Rica and Oklahoma.
Jennifer Haywood (music education) conducted area all-state choirs in Cortland, Watertown, Ithaca, and Newark Valley. She presented at the 2008 ACDA Eastern Convention in Hartford, Connecticut, and led workshops and a concert with the Corning Women’s Chorale and ARC of Steuben County. Her publications this year include four repertoire resource guides with the book Teaching Music through Performance in Choir, Volume II.
Dan Isbell (music education) conducted the Tioga County elementary all-county band and adjudicated at the Gorham Pageant of Bands. His article entitled “Popular Music and the Public School Music Classroom” was published in Update: Applications for Research in Music Education. He has given a presentation entitled “Socialization and Occupational Identity among Preservice Music Teachers” at Padova University in Italy; Greensboro, North Carolina; and for the New York State School Music Association (NYSSMA).
Rebecca Jemian (music theory) gave a presentation to the Music Theory Society of New York State entitled “Who Wants to Pass Fundamentals: Clickers in the Classroom,” which focused on the personal polling devices technology that Jemian uses in large sections of fundamentals classes. At the International Double Reed Society’s June conference at IC, bassoonist Jemian performed Marc Satterwhite’s Concertino a Tre along with flutist Wendy Mehne and pianist Diane Birr.
Timothy Johnson (music theory) presented at the First International Conference on Music and Minimalism in Bangor, Wales. His presentation “The ‘Endless Wakefulness’ of Premier Chou in John Adams’s Nixon in China” tied analytical views of the music to historical and political perspectives on the event depicted in the Adams opera.
Keith Kaiser (music education) presented “Perceived Functions of Music in Public Schools: From Aesthetic to Social Implications, Why We (Should) Include Music in Public Schools” at the national MENC convention, at the West Virginia Music Educators Association conference, and at NYSSMA. He guest conducted all-county bands in Steuben and Broome Counties.
Deborah Martin (piano) directed the 2007 Summer Piano Institute at Ithaca College and joined the piano faculty of the University of North Carolina at Greensboro’s summer music camp. In October she led the piano pedagogy panel discussion at the annual New York State Music Teachers Association’s state conference at SUNY Binghamton.
Steven Mauk (saxophone) was a visiting guest artist at this year’s Eugene Rousseau International Saxophone Master Class where he presented a lecture/recital on the soprano saxophone and performed a work for alto saxophone and string quartet by the featured composer, Juan Orrego-Salas. Mauk and guitarist Pablo Cohen, performing as the duo Remeleixo, presented several concerts. Over the last few months, Mauk, Kim Dunnick, and Diane Birr, as the trio Troica, have been recording a compact disc of music for trumpet, alto saxophone, and piano.
Jeffery Meyer (orchestra) conducted outreach concerts with the Syracuse Symphony Orchestra; an area all-state in Saratoga, New York; and the Alabama all-state orchestra. He continues as music director of the St. Petersburg (Russia) Chamber Philharmonic, leading their Sound Ways International Music Festival in November.
Deborah Montgomery (voice) sang the world premiere of Nimrod Borenstein’s composition titled Genesis: The Days of Creation for soprano and orchestra. Under the direction of Raffaele Ponti she performed the work with the Genesee Valley Chorus and Orchestra in Rochester, New York.
David Parks (voice) released a recording, Under the Bluest Sky, in March. During the summer, Parks was awarded a grant from Ithaca College to develop music videos from the New York State School Music Association level-six song list for high school vocal students to use in their preparation for NYSSMA festivals.
Patrice Pastore (voice) was on the faculty of three programs this year: OperaWorks in California, where she taught improvi-sation in the teacher workshop and coached young professional singers; Rising Star Singers, where she taught for the seventh summer; and the Granding Festival at the Cincinnati Conservatory of Music, where she coached a vocal chamber music program of 20th-century music entitled “The Power of Chant and Ritual.”
Steve Peterson (wind ensemble) guest conducted and/or adjudicated in Rhode Island, New York, Michigan, Louisiana, Arizona, Florida, Massachusetts, and Alaska.
Deborah Rifkin (theory) presented at the Music Theory Society of New York State and later at the national conference of the Society for Music Theory. She spoke on how the music of Sergei Prokofiev changed in the 1930s. In November she was an invited speaker for a Ph.D. music theory seminar at Yale University to discuss her recent publications in Music Theory Spectrum and Theory and Practice. She serves on the program committee for the 2008 annual meeting of the Music Theory Society of New York State, which will be held at IC this April.
Lauri Robinson-Keegan (vocal jazz) conducted the Onondaga All-County Jazz Choir and performed two concerts with the Central New York Jazz Orchestra, including one as featured soloist. She was a featured composer/performer for the Central New York Composers’ Cooperative and performed at the Jazz Corner in Hilton Head, South Carolina.
Alex Shuhan (horn) performed at the December Midwest Band and Orchestra Conference with Rhythm and Brass,and as a guest with Boston Brass. At the Northeast Horn Workshop at Skidmore College in March, he performed Dana Wilson’s Musings: An Ode to the Greek Muses with Jennifer Hayghe. He continues to teach at the Interlochen Center for the Arts summer arts camp.
Nicholas Walker (string bass) gave solo recitals and master classes in Australia and Quebec, an all-Beethoven concert series with the Handel and Haydn Society at Symphony Hall in Boston, new music collaborations with Steve Stucky and the Ensemble Formerly Known as X, a Tango da Camera DVD, live performances with bandoneón legend Daniel Binelli, a Hospice Care CD recording featuring his own composition, as well as several new collaborative projects with jazz pianist John Stetch. His compositions were featured as part of the Dance Now showcase, the Dance Sampler at Symphony Space in New York City, and Extraordinary Dance at Colorado College.
Susan Waterbury (violin) spent part of a spring sabbatical in Bergen, Norway, studying Edvard Grieg and Norwegian violinist Ole Bull. She performed at the Deià International Music Festival in Mallorca, Spain; the Adriatic Chamber Music Festival in Termoli, Italy; and the Garth Newel Music Center in Warm Springs, Virginia. She was also on the faculty at the Bennington Adult Chamber Music Conference in Vermont and the Tuckamore Festival in St. John’s, Newfoundland.
Baruch Whitehead (music education) taught Orff workshops at Westminster Choir College and Boston University, and presented “Diversity in the Elementary Classroom: An Afrocentric Approach” for the national Orff-Schulwerk confer-ence and for the Ohio Music Educators Convention. Along with Janet Galván, he presented “Institutions of Higher Learning and Diversity” at the Urban Music Conference, and he cofounded and directed the Community Music Education Project summer music camp for under-represented students.
Dana Wilson (composition) had works performed at international music festivals in Korea, Japan, and France. He completed residencies at Northwestern University and Massachusetts Institute of Technology and was the featured composer in a contemporary music festival in Miami. Premieres of new works include Shallow Streams, Deep Rivers for horn, violin, and piano, com-missioned by Gail Williams and the Chicago Chamber Musicians; Quadrangle commissioned by the Quad Cities Symphony; Water, Water commissioned by the Empire State Youth Orchestra; and Paradox for trombone and piano.
Originally published in Soundings, Volume 9, Number 1, Spring 2008: Faculty Notes.