FSU College of Music Alumni Magazine 2021-2022

A MESSAGE FROM THE DEAN

It is an honor and a privilege to be writing my first letter for the Alumni Magazine as Dean of the College of Music at Florida State. I have just completed my first full academic year at FSU, and I am even more excited about serving as Dean of this illustrious college than when I started in January 2021. The faculty and staff have made my family and I feel right at home. During my travels over the past year, I have had the opportunity to meet with alumni from across the nation, all of whom express gratitude for the educa tion and experiences that they received here at FSU. Throughout these many conversations with faculty, students, staff, and alumni, there is one word that came through consistently: community.

In the Fall of 2021, I called for the formation of a Strategic Thinking Steering Committee to help create a cohesive vision for the future of the College. This committee was created with representatives from each academic area within the College, as well as representa tion from staff, undergraduate and graduate students, community members, and alumni. We had terrific conversations throughout the year, and it became clear through this process that it is our core value of “community” that guides every interaction and decision that we make in the College. We see community as a place of belonging, where all are welcomed. The study, creation, and celebration of music binds us together as a community.

This fall we also created an IDEA (Inclusion, Diversity, Equity, and Access) Committee. This committee, led by Dr. Jane Cledinning, worked consistently over the course of the year to collect information from faculty, staff, and students, and utilized that information to create a year-end report that summarized what we are doing well and where we still need to improve. The report also included a list of rec ommendations for how to move the College forward as we progress toward our goals. We will be examining those recommendations over the summer and implementing strategies to move towards a more inclusive and diverse college community.

You will be able to see both the strategic vision document and the work of the IDEA Committee on our new website later this summer. Wait – new website?! Yes, we have been working on a new rebrand and totally redesigned website that we hope to unveil in late summer. I think you will find the new design to be artistic, centered around students and community, and a reflection of the high quality of work that happens in the College of Music on a daily basis.

Thank you for all that you do to support the College of Music. We welcome your feedback, and we want to know about your successes. Please do keep us up to date on your activi ties. I hope I have the chance to meet you at a concert or during my travels, which happen with some frequency! Go ‘Noles!

Dr. Todd Queen

2022 COLLEGE OF MUSIC ALUMNI MAGAZINE

CONTENTS

02 Dean’s Message

04 Interview with Dean Queen

08 An InternatioNOLE Presence

12 Jazz at Florida State

16 Retirements

20 New Faculty

21 News from the College

26 Faculty/Alumni/Student News

39 Focus on Philanthropy

40 Major Gifts, Friends and Supporters

College of Music alumni, we want to hear from you! Use this QR code or visit our alumni page at music. fsu.edu/alumni to send us updates - mailing address, email, phone, employment - and information about your professional activities to be included in the next edition of the College of Music magazine. Follow the College of Music on social media @musicFSU

INTERVIEW WITH Dean Queen

By Dr. Greg Jones

How did you get started down a career path in music, and what was your path to FSU?

I grew up in rural Ohio, where I learned to play piano and saxophone and sang in school and at church. My school had the traditional choir and band classes, and that was really the extent of my musical training. I did not have the opportuni ty, or even then wherewithal, to attend a live symphony concert or opera during my youth. My only exposure to opera was watching the movie Amadeus, where I heard the Queen of the Night aria for the first time and I thought, “Can a human voice really do that?”

I went to BYU when as was 17 as a first generation college student. I was a double Music Education major in saxo phone and voice, but I didn’t really know what that meant, or what I was going to do. I was probably more talented on saxophone, as I auditioned and was accepted into private lessons on saxophone, but I was not good enough to qualify for private voice lessons, so I was put into group voice class. (Which ended up being the best experience for me.)

The opera in the fall at BYU was Carmen, and I decided to attend – my first live opera. I didn’t know the storyline, and I had no idea what to expect. I was blown away. I went home that night and told my roommates that I was going to be an opera singer. They laughed and told me I was crazy...well, who’s crazy now?

After BYU, I attended Eastman School of Music for my graduate work. I found Eastman to be exhilarating and challenging, and it is there that I started to lay the ground work for who I would become as a professor and administra tor, though I didn’t know it at the time.

After Eastman, my first job was at North Dakota State University in Fargo, ND. It was the typical “do everything job” – I taught 20 students, directed a choir, taught diction, vocal literature, vocal pedagogy, and directed a few opera scenes.

After two years, a position opened at Colorado State University in Fort Collins, CO. We really loved the mountains, and so we decided to apply. They named me Director of Opera in my first year, and I had never directed an opera before, nor did they really have an opera program to speak of! But we got to work and over a few years started to develop a pretty good program. I also was named Artistic Director of Opera Fort Collins, and between the university program and the regional company, we were producing six operas a year in little Fort Collins, CO! I gained quite a bit of administrative and fundraising experience throughout that process, and in 2009 I became Chair of the Department of Music, Theatre, and Dance at CSU. I really enjoyed the administrative responsibilities, and I saw it as a natural extension of directing an opera.

In 2014 I was nominated for the position of Dean for the College of Music & Dramatic Arts at LSU. My wife was originally from Louisiana, so we felt like it would be a good match. I really loved my time at LSU, and I loved being Dean. It is a great job, and I think it fits my skill set the best. We did a lot of good work at LSU, particularly with regard to fundraising and curricular development. And we got to celebrate a National Championship in football, which was quite a wonderful experience!

As with LSU, I was nominated for the position here at FSU. Of course, I was well aware of the strong reputation of the college through our national associations (NASM and NAMESU). As I looked more closely at the College of Music, it had all of the components that I believe are needed for a modern, 21st century music program: worldclass training in performance, highly regarding academic programs in Music Theo ry and Musicology, and, in my estimation, the best Music Education program in the nation. In addition to those areas, FSU also offers Music Therapy, Arts Administration, Music Theatre, Jazz and Commercial Music, and Piano Technology. These areas, particularly Commercial Music, are areas that need to be part of a well-rounded music education in the 21st century. I feel like having these programs already in place gives FSU to opportunity to continue to be a national leader in the arts.

How has it been in the first year at FSU? How is leading this 120-yearold program resonating with you?

I have had a terrific first year. My family and I have been so warmly welcomed by the faculty, staff, students, and community members. It is clear that the college has a special spirit about it – it is a special community – and I am proud to be part of that community.

You have lived and worked in Ohio, Colorado, New York, and Louisiana. What do you think of Tallahassee and Florida now that you are settled here?

My family and I were drawn to Tallahassee because of all of the parks, nature trails, and bike trails that the city has to offer. We were also drawn to the strong church community here in Tallahassee.

have multiple skill sets so they can adapt and thrive, no matter the circumstances. For that to manifest, our curriculum must evolve and show that same flexibility and adaptability.

What is the importance of music and music schools during this unusual time of COVID-19 and the deep divisions among Americans?

I’m not sure I have a particular style. I have fundamental values that I believe in, and I try to emulate those every day: honesty, integrity, empathy, passion. Listen louder than you speak. I am drawn to Steven Covey’s 7 Habits of Highly Effective People, and I try to model those ideals. I certainly see myself as a servant leader, and I do my best to try to bring people together to achieve a collective vision for the college.

Music can be such a powerful source of healing and can bring people together, regardless of ideologies or backgrounds. We want to continue to serve that important role in the community. In October 2021, we were able to experience Ressurection Symphony in Ruby Diamond Concert Hall. It was such an amazing musical experience, and a celebration of being together again in the concert hall. While we still have to navigate the pandemic and do all we can to mitigate risk, we also saw that live music is an indispensable part of the human experience and we long for its return in our communities.

The College is going through a “Strategic Thinking” exercise now, so I’ll be able to answer more specifically at the end of the Spring semester. In general, though, it is clear to me that FSU sees itself as a national leader in the field of music. As we take on and accept that responsibility, it is crucial that we are deeply connected to the world around us and that we adapt to the shifting landscape. Flexibility and adaptability have become not just buzzwords anymore, but crucial components of everyday life. Our students should reflect those characteristics, and when they graduate, we want them to

With the arrival of FSU President Richard McCullough comes a focus on research, interdisciplinarity and internationalization as important initiatives moving forward. What role can the College of Music play in support of these plans?

We will have a strong voice in how we move forward as a university with interdisciplinary work at the College. We are currently working with the College of Entrepreneur ship on a joint graduate program and we will continue to be strong partners with the health field as we expand our resources in that area, particularly in Music Therapy.

What attracted you to the position of Dean at the FSU College of Music?

How would you describe your leadership style?

You often mention preparing “21st Century Musicians.” What are your major plans and hopes for the College of Music related to this goal?

I don’t do a lot of performing these days, expect at church. I am still connected with Operafestival di Roma, a summer program in Italy, and that helps to recharge my artistic batteries. While Dean at LSU, I taught an undergraduate course entitled “Defining the Artist” as part of the new curriculum. Depending on where we head with the curriculum at FSU, there may be some opportunities there in the future. One of the aspects that I miss most as Dean is working directly with our students.

That is easy, in the music! At the end of a long, hard day, the opportunity to go into the performance halls, and hear our fabulous students and faculty help me to remember why we do what we do on a daily basis. I’m so grateful for the opportunity to hear and see our work in action – it is quite reward ing!

I like to golf, and I like to go road biking. In theory, I can do both in Tallahassee. That has not yet happened with the frequency that I had hoped, but hope springs eternal! n

As a trained operatic singer direc tor and teacher, do you still perform and teach in your role as Dean?

Where do you find inspiration as you lead a national leading college in preparing the next generation of musicians?

What do you like to do when you want to relax and recharge… when time permits?

An InternatioNOLE

Presence

By Jared Finkel

Our Musicology faculty and students are committed to more than just creating spaces for Western audiences where music and traditions from around the world can be heard and appreciated, but also to interacting with people around the world to create a dialog of understanding, using music as a commonality.

One such example of College of Music faculty working on international-reaching and multicultural projects is Dr. Sarah Eyerly of the Musicology department. Eyerly received the 2021 Music in American Culture Award from the American Musicolog ical Society for her recently released book, Moravian Soundscapes: A Sonic History of the Moravian Missions in Early Pennsylvania. Her first authored book explores the influence of Moravian music on 18th century America and how the relationship impacted the religious music of Native peoples. On the subject of the award, Eyerly said, “I am grateful for the recognition that the Music in American Culture Award brings to collaborative teaching, research and publication in the humanities and to the committee’s recognition of scholarship on early American history that actively attempts to reach non-academic audiences.”

Another faculty member who is dedicated to the history of non-Western culture is Dr. Frank Gunderson, also of the Musicology department. Gunderson currently serves as General Editor of the Society for Ethnomusicology (SEM) academic journal Ethnomusicology and is co-founder and co-Editor-in-Chief of the new SEM journal, the Journal of Audiovisual Ethnomusicolo gy. Gunderson’s research focuses on the music of East Africa, and as a prestigious Fulbright Distinguished Chair Award recipient, Gunderson will be spending 10 months at the University of Dar Es Salaam in Tanzania cataloging the history of the nation’s dance music. Throughout his career, Gunderson has championed the concept of repatriation or “giving back” – whether that be physical materials or sharing educational experiences. “The opportunity to teach graduate students in an African university is something I have always wanted to do in this spirit of giving back,” Gunderson said.

Florida State University is an institution dedicated to the acknowledgment and development of internationalreaching efforts and multicultural affairs, and the College of Music is a prime example of this philosophy.

Dr. Panayotis League, a member of the Musicology department and Director of the Center for Music of the Americas at FSU, is dedicated not just to his research, but also to the development and enrichment of different kinds of music in the Tallahassee area. In an interview, League spoke about his research and other activities he has done. League’s research focuses on the music of the Greek Islands and northeast Brazil. As a recipient of the Fulbright U.S. Scholar Award, League traveled to Brazil for a project which, in his words, was “awesome.” The project involved the documenting and interviewing of players of forró, a genre of complex Brazilian dance music played on the bisonoric button accordion, a type of accordion that uses buttons instead of a keyboard and produces two sounds per button depending on if the bellows are closing or opening. The project also included the study and transcription of

the music itself. League is currently working with a colleague in Rio de Janerio to produce a series of critical edition books on the subject, and they are building a website so the information can be freely available. In 2021, IPHAN (the Brazilian government’s heritage register) named forró part of the country’s cultural heritage, and League will be speaking and performing at an event in Brazil this July commemorating the art form.

In Tallahassee, League is putting on events at the Blue Tavern, a local cafe/bar and music venue. On Tuesdays from 5:00-7:00 PM, the Brazilian community comes together to play music from home, such as bossa nova. This event has become a “weekly anchor” for the Brazilian community in Tallahassee. Also, on the first Thursday of each month is the World Music concert series, which features local or regional artists who are experts of global

music that people do not often hear, including Caribbean and Nigerian music. “It’s a really great community thing… [we have a] wide mix of people who come,” said League. Naturally, serving the Tallahassee community is something that League loves to do – not only did his parents meet at FSU, but his mother is a Music Education graduate, and his grandmother was one of the first immigrants from the community to attend the Florida State College for Women.

Of course, the College of Music hosts plenty of international and multicultural events on campus, too. In October, the Housewright Eminent Scholar program hosted Gram my-nominated, Jamaica-hailing jazz pianist Monty Alexander, who led a masterclass and performed with the Jazz Ensemble I. That same month also saw the residency of Grammy-winning artist and activist Bill

Above, L-R: Members of Afro-Nyota, Grupo Jaraguá, Andean Ensemble, and Mas ‘n’ Steel perform in Opperman Music Hall.

Miller, whose work focuses on the Mohican people. In November, the University and the College participated in International Education Month, an expansion of the federally sponsored International Education Week, which aims to promote the benefits of international education and exchange. As part of International Education Month, the College showcased its many World Music ensembles, such as Sekaa Gong Hanuman Agung (Balinese Gamelan ensemble), the Andean Music ensemble, and Mas ‘n Steel, a Trinidadian-style steelband. In March, the College again highlighted these ensembles in the 25th anniversary Rainbow concert, a long-standing celebration of World Music at FSU. That same week in March, the College also hosted early music ensembles Piffaro and El Fuego as part of a celebration of the confluence of Native American, African, French, Spanish, and U.S. music and dance

that took place in Florida over its colonial and early statehood periods.

As part of International Education Month, the College featured several international students. One such student is Alaba Ilesanmi, a doctoral Musicology student and director of Afro-Nyota, the College’s African music ensemble. Ilesanmi was recently awarded the McKnight Doctoral Fellowship award for his research on African and African diaspora music. As director of Afro-Nyota, Ilesanmi has been able to share the music of his native Nigeria and other African countries with the public through both the World Music concert series at the Blue Tavern as well as performances on campus.

Another international student of note is I Gde Made Indra Sadguna, a doctoral Ethnomusicology student and a recipient of

the Fulbright Grant for Indonesian Lecturers. Sadguna is a professor at the Indonesian Institute of Arts (ISI), Denpasar, an arts conservatory based in his hometown. His work revolves around the study of Balinese instruments and musicians, and at Florida State he is the director of the Gamelan ensemble. Sadguna has performed and given lectures about Balinese music and dance around the world.

On campus, in the community, and abroad, College of Music faculty and students are constantly striving for excellence on an international scale. n

Dr. Panayotis League leads the Brazillian Ensemble, Grupo Jaraguá.

Nis mo vellaut acienes tiatinis ad eatendit es incimag niment.

at Florida State University

Imagine this: it is a typical warm evening in Tallahassee. The lights go down in Opperman Music Hall, and the members of the Jazz Ensemble I enter the stage. You and 400 other music lovers are treated to several excellent, swinging charts before Marcus Roberts appears on the stage. For the rest of the night, you experience a magnificent showing of musicianship, virtuosity, and electricity between the guest artist and the ensemble.

The Jazz faculty in the College of Music are some of the most well-versed and collaborative people in the industry:

Rodney Jordan Professor of Jazz Bass since 2001. He has been the bass player in the Marcus Roberts Trio since 2009 and has also appeared on many different albums with fellow FSU faculty and other Jazz notables, not to mention two albums of his own.

Scotty Barnhart, Professor of Jazz Trumpet since 2003 and director of the legendary Count Basie Orchestra since 2013. Barnhart is a two-time Grammy Award nominee and has played and recorded with famous performers such as Tony Bennett, Aretha Franklin, Tito Puente, and Frank Sinatra.

Leon Anderson, Associate Professor of Jazz Drum Set. In addition to performing with individuals such as Rodney Whitaker at the Dr. Phillips Center Jazz Orchestra in Orlando, Anderson has performed around the world with artists such as Wynton Marsalis and Victor Goines.

Bill Peterson, Professor of Jazz Piano and Music Theory, has an album with his own Jazz trio and has performed and presented around the country and abroad.

The Jazz area’s newest faculty members, Kevin Jones, Associate Professor of Jazz Trombone, and alumnus David Detweiler, Associate Professor of Saxophone, joined FSU in 2016 and are both presenting on national and international levels and releasing recordings. Both have also recently published books.

Last but not certainly not least is Marcus Roberts, Associate Professor of Jazz Piano. Roberts is a Grammy Award nominee, a recipient of the American Foundation for the Blind’s Helen Keller Award for Personal Achievement, and a recipient of honorary doctoral degrees from Brigham Young University and The Julliard School. He has been featured on 60 Minutes and has performed with world-renowned artists including Wycliffe Gordon, Béla Fleck, and Chick Corea. His performance and recording credits with Wynton Marsalis stretch over 30 years. Roberts is also an FSU grad.

In a recent interview, Rodney Jordan spoke about the Jazz program at FSU. “[We have] a stellar faculty… every body’s got national and international recognition,” said Jordan. “Here at Florida State, you get more personal interactions with your professors than you get at other places… it’s one of the things that makes us special.”

Thanks to the world-class faculty and dedicated students, Jazz at Florida State is able to present world-class performances. Recent concerts include the finale performance of the Jazz Week event that took place in January, 2022. Part of this performance included Marcus Roberts’s Deep in the Shed, an important work for Jazz musicians. The College of Music was also able to host the residency of Monty Alexander in October, 2021. Jordan states that, because of his level of performance and his staggering number of recordings, Alexander is a “true treasure in the jazz community,” and that the faculty and students greatly enjoyed having him on campus. The Jazz faculty were also the first concert season performance of the 2021 school year. “There was a lot of uncertainty,” confided Jordan, “but we were able to put on masks and socially distance ourselves… We’re very proud that we were able to lead the new year off.”

Here at Florida State, you get more personal interactions with your professors than you get at other places.”

– Rodney Jordan, Professor of Jazz Studies

This is Jazz at Florida State University.

Alumni of the Jazz program take the electricity of Jazz in Tallahassee and bring it with them wherever they go. Jordan listed just a sampling of Jazz program alumni:

Amina Scott, bass

Lives and teaches in New Orleans. Professor at Loyola University New Orleans and is the leader of her six-piece fusion band named PHYRA. Recently performed with Dee Dee Bridgewater with fellow FSU alumnae Emily Mikesell, trumpet, Marisa Webster, trumpet, and Emily Fredrickson, trombone, who directed the ensemble.

Barry Stephenson, bass

Has been a part of Jon Batiste’s band on The Late Show with Steven Colbert and has also been featured on TV shows The Marvelous Mrs. Maisel and Godfather of Harlem. Recently nominated for a Grammy.

Boyce Griffith, saxophone

Currently lives and performs in New York and was a part of Jazz Week at FSU in January, 2022. Plays with Marcus Roberts’s group, The Modern Jazz Generation.

Dave Meder, piano

Professor at the University of North Texas and has previously taught at Julliard and New York University. Has performed abroad in China and Honduras and has won awards such as the ASCAP Young Jazz Composers Award.

Etienne Charles, trumpet

On faculty at the University of Miami and an accomplished performer, having performed at locations such as Lincoln Center and the White House. 2015 Guggenheim Fellowship award recipient.

Jamison Ross, voice and drums

Grammy-nominated and winner of the 2012 Thelonious Monk International Jazz Drums Competition. Has per formed with artists and groups such as Snarky Puppy, Dr. John, and Wynton Marsalis.

Jason Hainsworth, saxophone

Executive Director of the Roots, Jazz, and American Music program at the San Francisco Conservatory of Music and reports to the institution’s president as Associate Dean of Diversity, Equity, and Inclusion.

Jeff Denson, bass

Dean of Instruction and a professor at the California Jazz Conservatory in Berkeley. He has been named a “Rising Star Bass,” “Rising Star Electric Bass,” and “Rising Star Male Vocalist” by Downbeat Magazine

Wilbert Neal, trombone. Has been performing with American Idol winner Fantasia.

Zach Bartholomew, piano

Two-time Florida State alumnus. Currently teaches as an instructor for the Community Arts Program in Miami and is a full-time faculty member at Florida Memorial University.

When it comes down to it, Jazz at Florida State University is a program like no other. “With our program here at Florida State, our emphasis is in the small ensemble,” said Jordan. “We think that, in a small ensemble, that’s where individuals get a lot of attention.” And that attention shows. The number of alumni who graduate and are immediately pivotal to the Jazz world is unmatched, and it is thanks in part to the experiences that are fostered on the campus of Florida State. n

RECENT RETIREMENTS

While Covid-19 protocols prohibited an in-person gathering last year, our retirees were recognized during the Fall faculty meeting, held via Zoom.

EVA AMSLER

Eva Amsler, Professor of Flute, retired from the College of Music after more than 20 years with the flute studio. Jeffrey Keesecker, Professor of Bassoon and one of Eva’s closest friends, regaled the listeners with his recollections of his early interactions with Amsler, from their first chance meeting during a performance in 1997, to his initial collaborations with Amsler’s Dorian Consort, and ultimately her arrival as a fellow faculty member at the College of Music in 2001.

Keesecker spoke of Amsler’s desire to change the world through outreach. First, in her native Switzerland, where she played in the St. Gallen Sinfonie, then later when she moved to her professorship at FSU. Through writing, collaborting, performing, and working with various associations, she achieved these goals while at the College of Music with the love and support of her colleagues, her devotion to her students, and by means of her superlative performances throughout the Tallahassee community and around the world.

“Working with you has been an amazing experience,” Keesecker concluded. “So thank you, Eva – thank you for the legacy of outstanding teaching and performance that you have brought to the College of Music.”

DOUGLASS & GAYLE SEATON

Warren D. Allen Professor of Music Douglass Seaton and Program Director of Music Theatre Gayle Seaton retired after 43 years with the College of Music.

Professors of Musicology Charles Brewer and Michael B. Bakan spoke in praise of their colleague, Douglass Seaton. Brewer began his remarks by defining the term “music.”

“In medieval Latin, the word musicus basically means ‘complete musician,’” Brewer began, “and in every respect, our colleague Douglass Seaton is a musicus. This can be seen in his musicological research, which has enhanced the national and international reputation of Florida State University,” Brew er continued. “Seaton always taught that goal of musical scholarship should be to examine new perspectives and communicate these insights to those who desire to study and perform music. This is evident in his desire to train his students to be scholars, teachers, and communicators, and his influence is still active in all of those who have been in his classes.”

Fellow Professor of Musicology Michael B. Bakan continued in the linguistic vein, offering his definition of the word “mensch.”

“In German, mensch means simply ‘human,’ as in a ‘human being,’ and yet it is a word that carries deeper meanings. There are few higher Jewish compliments to pay someone than to call them a mensch, though of course a true mensch would be too modest

to want to be complimented,” Bakan joked. Bakan then added to the definition qualities such as honor, integrity, compassion, decency, and determination, all of which he ascribed to Seaton.

“Douglass Seaton is a mensch,” he asserted. “Thank you for everything Douglass, truly, from me and from all of us, from the bottom of our hearts.”

Director of Opera Activities Douglas Fisher took over the screen next, speaking from the heart about his colleague Gayle Seaton, Program Director for Music Theatre.

“I hardly know where to begin to talk about Gayle Seaton’s contributions to the College of Music,” he began. “They are literally limitless. When I think about everything that she’s done, I’m surprised that it didn’t take at least 60 years to accomplish all of it. She’s a passionate teacher and advocate for her students; she’s the ultimate problem solver and team player.”

As Fisher continued, he revealed that in addition to creating the Music Theatre program, in her time at Florida State Seaton has served within the College as Interim Director of Opera, Director of Music Theatre, voice teacher for the Music Theatre program, and Assistant Professor of Voice on the voice faculty.

“Her most valuable contribution to the College of Music is her passion for her students and her connection to her students,” Fisher explained. “Almost every student who has graduated from the Music

Eva Amler

Douglass Seaton

Gayle Seaton

Theatre program in that 40+ year period has worked professionally in the industry. She has Tony award winning performers amongst her former students, students who have performed on Broadway, on national tours and regional theater and cruise ships, but many of them have also moved into other areas of the industry, becoming producers, music directors, and faculty members of Music Theatre at prestigious higher education programs.”

“I don’t know how the Music Theatre program is going to move forward without her,” Fisher concluded, “but we wish we wish her all the best, and that she and Douglass have nothing but fun in the next phase of their lives. Thank you, Gayle, and congratulations.”

MARK WINGATE

Associate Professor of Music Composition Mark Wingate has retired from the College of Music after 20 years on faculty. Wingate arrived at the College of Music in 2001, following his previous position as co-founder and director the Electronic Arts Studio at Istanbul Technical University in Turkey. Wingate is the recipient of a Fulbright Fellowship, a National Endowment for the Arts Composer Fellowship, the Prix de Rome in Music Composition, and most recently the Guggenheim Memorial Fellowship, all recognizing his substantial achievements as an electroacoustic composer.

Coordinator of Theory and Composition Evan A. Jones congratulated his long-time colleague on his service to the College and imminent retirement.

“Throughout his time at FSU, Mark has overseen our electronic music program and facilities, taught required courses in Digital Music Synthesis for undergrads and graduate students, supervised graduate assistants, and chaired multiple master’s and doctoral committees. He has also provided crucial assistance with electroacoustic performances during our last nine biennial Festivals of New Music,” reported Jones. “One of his most significant contributions was the creation of FSU’s Electric Chamber Orchestra or EChO, a suite of electronic instruments and associated equipment. EChO has been featured on several Festivals of New Music and was featured in perfor mance at the Smithsonian Institution in 2018 and 2019.”

“No doubt we will have some huge shoes to fill,” concluded Jones, “but simply filling Mark’s position can’t ever replace or reproduce what has made him so significant for our program and such a valued colleague.”

The closing of the 2022 spring semester also heralded the retirements of several esteemed faculty whose careers and legacies were celebrated following the spring faculty meeting, held in person in Ruby Diamond Concert Hall.

PATRICIA J. FLOWERS

Professor of Music Education and Associate Dean for Operations William Fredrickson spoke first, recounting to the assembled faculty his earliest memories of Patricia J. Flowers, former dean and Professor of Music Education.

“Just about 10 years ago, then Dean Don Gibson met with Provost Garnet Stokes to confirm that he would retire in one year,” began Fredrickson. “That set off a chain of events that brought Pat Flowers back to FSU 33 years after finishing her doctorate. I knew who Pat Flowers was professionally and had followed her career as a professor and researcher in music education. When I heard that she had applied for the dean’s position, I was surprised, but intrigued.”

Fredrickson continued to reminisce, describing Flowers’s first visit to campus as a candidate for the position of dean of the College of Music and eventual tenure in that position.

“I think her successful candidacy is a testament to her intellect, attention to detail, understanding of human behavior, and a genuine interest in both music and people.”

JOE KRAUS

Following Fredrickson, Professor of Music Theory and Coordinator of Music Theory and Composition Evan A. Jones approached the podium to laud the career of Joe Kraus, Professor of Music Theory at the College of Music for 16 years.

“Joe is well-known for his scholarly contribu tions on the music of Tchaikovsky, Mozart, Bruckner, and Sibelius, including a ground-breaking article published 31 years ago in our society’s flagship journal Music Theory Spectrum entitled ‘Tonal plan and narrative plot in Tchaikovsky’s Symphony Number 5.’ I studied that article in graduate school and assigned it to students at FSU

Mark Wingate

Patricia J. Flowers

Joe Kraus

before I had any inkling Joe would become our colleague,” Jones confided.

“He has served our profession in many capacities, including as an elected member of our national society’s executive board, and until last month as president of our regional society, Music Theory Southeast. He is also well-loved by his friends and colleagues across the country.”

Jones continued to speak to the character of Professor Kraus and the many roles he has filled within the College of Music and concluded the encomium on a happy note, sharing a recent experience with the gathered faculty.

“Joe’s Music Theory colleagues and all our graduate students gathered together this past Friday afternoon to celebrate his impending retirement, to eat cake, and to watch an amazing compilation of video messages from over 20 far-flung contributors including current and former students, current and former colleagues, current and former SMT presidents, and numerous friends from AP grading, all sharing heart-felt reminiscences of how Joe has impacted their lives. It was abundantly clear that Joe’s impact is deeply, deeply felt, and remembered, and valued, seemingly by every theorist who has come through our program. In that way, and also in terms of his scholarly achievements and his contributions and service, Joe’s legacy is secure and can’t be overstated.”

BRUCE HARGABUS

The 36-year long service of Piano Technician and Shop Manager Bruce Hargabus was recognized by the College of Music piano faculty in the person of Associate Professor of Piano Heidi Louise Williams, who opened her remarks with a quote from Grand Obsession by Perri Knize:

“There is a relationship between the piano, the technician, and the pianist. The content of that relationship is intimate. Sometimes, dealing with the pianist’s psychology is harder than dealing with the piano. The pianist is desperately trying to bond with the piano. It has to become part of their musical soul. The technician is there to make it a healthy, functional relationship. The technician ferrets out whatever it is the pianist needs from the piano so that the

pianist can gain free passage of their soul through the instrument.”

“Bruce,” Williams affirmed, “this is what you have done over the years on countless pianos, for countless occasions, in countless studios and practice rooms and concert halls, for numerous guest artists, faculty, and students within and beyond the FSU College of Music. I was just thinking today as I was driving in about how many audience members, patrons, parents, have listened to Bruce’s magic on these pianos over the years.”

Williams continued, relaying testimony from numerous College of Music faculty, students, and alumni, all of whom spoke glowingly of Bruce’s skills, selflessly shared; his friendly demeanor and generosity of time and talent; his patient mentorship; his dedication to his craft and his attention to detail.

“Bruce,” Williams concluded, “you are an inspiration to us all and we love you.”

TIMOTHY HOEKMAN

Associate Professor of Voice Evan T. Jones spoke next, announcing the retirement of Timothy Hoekman, Professor of Vocal Coaching and Accompanying at the FSU College of Music for 38 years. Jones spoke glowingly of his interactions with professor Hoekman, first as a student and finally as a fellow faculty member.

“I have been very lucky that I have had the opportunity to work with Tim both as a colleague and a student, back he was known as Dr. Hoekman to me. I can honestly say that in both relationships I have felt two things: one, incredibly inspired, and two, incredibly intimidated. All these years later, I still get a bit nervous when I’m having my rehearsals with Tim, but that comes from a desire to hold myself to the same high standards that he would. It inspires me to work as hard as I can.

“It is easy to berate and belittle, but Tim has never done that. He pulls students up rather than dragging them down. …we will all definitely miss that smile, that kind energy, and that wit. We will all be striving to meet those high standards that Tim set as a teacher, as an artist, and as a human. Congratulations, and thanks, Tim.”

Bruce Hargabus

Timothy Hoekman

Mary Roman

MARY ROMAN

Professor of Viola Pamela Ryan spoke on behalf of Associate Professor of Harp Mary Roman, again reading aloud from notes sent in by friends and colleagues.

“Mary Brigid came to FSU not a whole lot older than the students she would be teaching,” began former student, Jamie Ann Gossett. “When she completed her master’s at Eastman, she wrote to schools all over the country asking if they needed a harp instructor. Dean Wiley Housewright interviewed and hired her over the phone in 1968. She accepted, packed her bags, and moved to Tallahassee without ever having visited the campus or city. She taught harp and class piano for 54 years. Could it be possible that she had an impact on at least 5,000 students?”

Gossett continued, praising Professor Roman’s musicianship, emphasis on preparation, and generosity with markings and scores, a trait further expounded upon by Laura Gayle Green, Head of the Warren D. Allen Music Library.

“FSU’s harp music holdings are in the country’s top 3 or 4 along with Eastman, Northwestern, and Brigham Young University,” noted Green, “largely because of Professor Roman’s never-ceasing efforts and advocacy.”

“I have never known anyone so generous with time,” confided Retired Professor of Music Therapy and Music Education Alice-Ann Darrow. “I am so grateful to have known her as an amazing teacher and musician, but also a supportive colleague and a friend who prompts challenging, thought-provoking conversations,” stated Darrow. “She is so quiet and unassuming that I fear people often miss the depth of her person and intellect. If so, it is all right, because it allows more time for me and all those who treasure her so much – and there are many. Love you, Mary Brigid Roman.”

CLIFFORD MADSEN

The final retirement of the semester, that of Clifford Madsen, Robert O. Lawton Distinguished Professor of Music, Coordina tor of Music Education, Music Therapy, and Contemporary Media, was acknowledged by

fellow retiree and former dean of the College of Music, Patricia J. Flowers.

“He [Madsen] played many roles at Florida State University: grad student 1960, he became an instructor in 1961, and joined the ranks of the faculty in 1964. He had been a trumpet teacher, an applied brass teacher, a band conductor – both Marching Chiefs and Concert Band – but ultimately, he devoted himself to music education, music therapy, and particularly research in those areas.”

“Over the years,” Flowers continued, “he created a research base for music education and music therapy when the idea of empirical research in those fields was new and sometimes controversial. People have built on that base, replicated it, expanded it, sometimes argued with it, but creating a new foundation – something from nothing – is a remarkable achievement.”

“He has profoundly influenced 100’s –1,000’s of students at all levels. Many would say, and do say, that he changed their lives.”

“FSU and the College of Music literally would not be the same had he not been with us for the past 62 years, concluded Flowers.

“He’s created a lasting legacy through hundreds, thousands of students and former students who carry forward his message.”

DOUGLAS FISHER

Professor and Director of Opera Activities Douglas Fisher has retired after more than 30 years with the College of Music. Longtime friend and colleague Matthew Lata spoke with great feeling about his experiences and observations of working with Fisher over the years.

“Douglas,” he began, “you always said that the way you wanted to retire was to just lay down your baton after the last performance, walk quietly out of the pit, and shut the door behind you. Well, it’s too late for that. You’ve affected too many people, you’ve inspired too many students, and you’ve made too much quiet noise to walk away. Specifically because a lot of our former students and colleagues are out there making a lot of noise – good noise.”

Lata went on to outline Fisher’s innumerable contributions to FSU opera as conductor, coach, and administrator before concluding with a heartfelt message of thanks “on behalf of the faculty, and on behalf of the 100s of singers out there whose lives you’ve touched and whose musicianship you inspire.”

Professor Fisher’s career was also celebrated in a spring performance featuring the University Symphony Orchestra alongside some of the many College of Music alumni with whom he has worked, including a special appearance of Ryan Speedo Green (courtesy of the Metropolitan Opera).

Clifford Madsen

Douglas Fisher

NEW FACULTY AT THE COLLEGE

Alisa Hauser Assistant Professor of Music Theatre holds a BFA in Musical Theatre from Cincinnati College-Conservatory of Music and a Masters in Voice Pedagogy from Westminster Choir College/Rider University. Her teaching experience includes positions at Michigan State University and Westfield State University as well as being on the voice faculty of the Brattleboro Music Center and Music Theatre of Connecticut. She holds a Level 3 certificate in Somatic Voicework – The LoVetri Method™ and teaches a functional approach to voice training specializing in contemporary commercial music.

As a performer, Alisa appeared on Broadway in the original cast of Thoroughly Modern Millie (Alice), Grease! (Frenchy), and in the original cast of Disney’s Beauty and The Beast (Silly Girl). Some of her favorite regional and stock roles include Peggy Sawyer in 42nd Street at Theatre-By-The-Sea, Judy in A Chorus Line at Stages St. Louis, and Her/Barb in Romance/ Romance at the Fulton Opera House. Other theatre credits include shows at Paper Mill Playhouse, Seven Angels Theatre, Music Theatre Wichita, and the Goodspeed Opera House.

In 2014 Alisa was nominated for a national primetime Emmy award for Outstanding Music and Lyrics for the song “No Trouble” from A Christmas Carol – The Concert (PBS). With music by Bob Christianson, she wrote the book adaptation and lyrics for this symphonic retelling of the Dickens classic. Also for television she has written lyrics with composer Stephen Sislen, for the Disney Channel’s Johnny and the Sprites. For the theatre she has collaborated with award-winning composers including David Mallamud, Philip Palmer, and Sam Davis. Her cabaret songs have been heard in various venues around the country including the Kennedy Center, Ars Nova, and Joe’s Pub. She is a proud member of Actors Equity Association, SAG-AFTRA, The Dramatists Guild, and The Television Academy.

Maria Ryan Assistant Professor of Musicology researches and writes about how African and African-descended people in the Americas theorized, performed, and listened to music with European origins in the eighteenth and nineteenth centuries. She holds the B.A. degree from the University of Nottingham, the M. Mus. degree from King’s College London, and the Ph.D. in musicology with a certificate in Africana studies from the University of Pennsylvania.

Dr. Ryan’s current project investigates the relationship between racialization and music in the British colonial Caribbean, exploring the many ways that African-descended musicians and listeners engaged with music with European origins. Sometimes this engagement functioned as a way to assert their intellectual and aesthetic capabilities, while simultaneously learning, theorizing, and subverting the music of those who enslaved and subjugated them. Early work from this project can be seen in the article “‘The influence of Melody upon man in the wild state of nature”: Enslaved Parishioners, Anglican Violence, and Racialized Listening in a Jamaica Parish” in the Journal of the Society for American Music (forthcoming, Summer 2021).

In addition to her work on music in the British colonial Caribbean, Dr. Ryan is interested in Black feminist theory, the intellectual history of Black music, and book history and archive studies. Dr. Ryan is a Junior Fellow in Critical Bibliography at the Rare Book School for 2020–2022, where she focuses on methods for recuperating Black listening practices from sources created under colonial logics.

Dr. Ryan’s work has been supported by grants and fellowships from ACLS/Mellon, American Musicological Society, American Historical Association, Society for American Music, and Library Company of Philadelphia.

NEWS FROM THE COLLEGE

Return to Live Music

Summer Opera

The process of returning productions to College of Music stages began in May with the Opera’s production of Jake Heggie’s Three Decembers. This production was fully produced with a reduced orchestra of FSU faculty and students and featured perfor mances from Dylan Glenn (DM, Vocal Performance), Serenna Jones (MM, Vocal Performance) and the return of alumna Nicole Woodward (BM ‘11), under the direction of Asura Oulds (MM, Opera Production, Directing). The production was open to a small audience of faculty, family, and friends of the performers, which made all the difference to the students.

Honoring Dean Flowers

In June, a special chamber recital celebrating the tenure of Dean Patricia J. Flowers was held in Opperman Music Hall. The eagerly awaited celebratory performance was a year overdue, postponed from the spring of 2020 due to the COVID-19 pandemic. Open to a small audience of faculty, and friends, the all-FSU program featured the Ella Ensemble (Nina Kim-Mulla, violin; Pedro Maia, violin; Albert Magcalas, viola; Vincent Leung, cello; and Christina Lai, piano) performing works by Ellen Taaffe Zwilich, Clifton Callender, Eunson Yu, Lilya Ugay, and Ernst von Dohnányi. (Video of this performance is available on WFSU.)

The Ella Ensemble: Nina Kim-Mulla and Pedro Maia, violin; Albert Magcalas, viola; Vincent Leung, cello; Christina Lai, piano.

Alumna Nicole Woodward (Maddie) joined Dylan Glenn (Charlie) and Serenna Jones (Bea) on stage for the Master’s thesis production of Jake Heggie’s Three Decembers, directed by Asura Oulds.

80th Anniversary Summer Music Camps

The summer also marked the 80th anniversa ry of the FSU Summer Music Camps, which continues its legacy of being one of the country’s oldest, largest, and most compre hensive university-based summer music camp program. The Music Camps were in great demand this year with wait lists that far exceeded capacity. The Camps employed 100 FSU faculty, graduate students, alumni, and nationally recognized experts in teaching, counseling, and administrative positions. Eleven camps were offered (cumulating in 16 live performances) and they were attended by more than 800 students from across the country representing 16 different states.

A Swingin’ Start to the Season

In September, FSU Jazz faculty (Scotty Barnhart, David Detweiler, Kevin Jones, Bill Peterson, Rodney Jordan, and Leon Anderson, Jr.) presented the first unrestrict ed performance in Opperman Music Hall since the start of the pandemic. Works on the program included original compositions from Peterson, Jones, and Barnhart, as well as works by Adderley, Marsalis, and Hubbard. The performance was beautifully presented and well attended – audience members were clearly eager to return to live musical performances!

Mahler’s “Resurrection”

The first performance of the University Musical Associates concert series was chosen with great care and consideration. On October 9, 2021, for the first time in more than 40 years, the University Symphony Orchestra and the combined choirs of FSU came together to present Gustav Mahler’s Symphony No. 2, also known as the “Resurrection” Symphony, in Ruby Diamond Concert Hall to a sold-out house.

“The ‘Resurrection’ is among the most powerful orchestral works in the orchestral literature,” stated Alexander Jiménez, Music Director and Conductor of the University Symphony Orchestra. “The Symphony tells of the journey through life’s often contradictory ups and downs from the perspective of a protagonist. He struggles with the reality of death, looks back on seeming chaos and meaninglessness of life...and finally reaches the realization of his own resurrection and triumph. Perhaps Mahler’s greatest message,” he continued, “is that ‘pure love overcomes all.’ Our world needs such a message.”

This performance cemented the College’s triumphant return to live performances and set the bar for the remainder of the season.

Dr. Alexander Jimenez conducts the University Symphony Orchestra and choir members in Mahler’s “Resurrection.”

“New Do” for Housewright Eminent Scholar Series

The College of Music’s newly revamped Housewright Eminent Scholar Series – now rebranded and reimagined as the Housewright Virtuoso Series – began the 2021-22 season with a stellar lineup of artist educators and scholars:

In October, audiences were treated to “Sing for Hope” featuring sopranos Monica Yunus and Camille Zamora. Accompanied by College of Music faculty members Valerie M. Trujillo and Timothy Hoekman, Yunus and Zamora presented excerpts from vocal masterworks by Ravel, Rachmaninoff, Mozart, Britten, Weill, Larsen, and others. The duo also presented several lectures and masterclasses to College of Music students during their residency.

Next up in the series was jazz pianist Monty Alexander, who gave an amazing perfor mance with FSU jazz faculty and students. Alexander joined Jazz Ensemble I, the College of Music’s top big band, on stage in Opperman Music Hall in a program that included works by Duke Ellington and Thad Jones, as well as several of Alexander’s original compositions.

The final guest for the first half of the season was award-winning Native American recording artist, performer, songwriter, activist, painter, and world-class native flute player, Bill Miller Miller and bassist Andrew Steeno presented “Songs of the Spirit,” a program that combined traditional singing styles of northern tribes with classic rock, gospel, blues, and Native flute.

Guests for the second half of the Housewright Virtuoso Series included FSU Jazz faculty and special guests in January; Incantare (Violins and Sackbuts) in February; pianist Boris Giltburg in March; and an end of season faculty showcase in May.

Coltman Competition Winners

The Civitasolis Reed Quintet (Luis Allejandro Gallo Quintero (M.M. ‘21) (oboe), Lewis Vaden (bass clarinet), Amy Humberd (D.M. ‘20) (soprano clarinet), Beth King-Bennett (D.M. ‘21) (saxophone), and Bridget Piccirilli (M.M. ‘21) (bassoon), were winners of the Senior Mixed Instru mental Division in the Austin Chamber Music Center’s 8th annual Coltman Competition with their performance of Roger Zare’s Variations on Reverse Entropy

Housewright Virtuoso Series guest artist Boris Giltburg conducted masterclasses with several students as part of his residency.

GRAMMY Award-winners

The 63rd annual GRAMMY Awards celebration, held on Sunday, March 14, 2021, included three College of Music alums: Adam Luebke (Ph.D. ’10), Best Choral Performance - Passion of Yeshua; Ryan Speedo Green (M.M. ’10), Best Opera Recording - The Metropolitan Opera’s 2019/20 recording of Porgy and Bess; and The Pacifica Quartet - Best Chamber Music/ Small Ensemble Performance for their album Contemporary Voices, featuring Quintet for Alto Saxophone and String Quartet by College of Music alumna Ellen Taaffe Zwilich (B.M. ’60; M.M. ’62).

Students Receive Research Grants

Carly Fulcher, Matthew Holzaepfel, and Erica Kremer were recently awarded IDEA grants from FSU’s Center for Undergraduate Research and Academic Engagement. They are working to research best practices in audience engagement and develop a training workshop for other students. Over the summer, they will work for 8 weeks with a pilot group of student string players to study the art of interactive performance, with the end goal of creating a long-term outreach concert series in the Tallahassee Community. The workshop will feature speakers from the Robert McDuffie School for Strings, Carnegie Mellon University, and the Juilliard School, as well as those with experience leading and developing education initiatives for the Philadelphia Orchestra, New York Philharmonic, Lincoln Center, Carnegie Hall, The Kennedy Center, and El Sistema USA.

Residency During the Pandemic

Since 2018, Sinfonia Gulf Coast in Destin, FL has hosted a String-Quartet-in-Residence mentored by FSU Professor of Violin, Corinne Stillwell. Coordinated by SGC’s Assistant Conductor, Aaron King Vaughn (B.M.E. ‘15; M.M. ‘19), the quartet leads two residencies each semester with activities that include interactive performances in elementary schools and senior centers, fundraising concerts, private lessons, and sectionals for the Sinfonia Youth Orchestra.

During the pandemic lockdown in the fall, this year’s group, the Carriola Quartet (Madeline Miller and Katie Taylor, violins; Megumi Terry (M.M. ‘21), viola; and Amber Den Exter, cello), created a video on teamwork which was shared with multiple schools in the region. This spring, they will spend three days performing a program featuring the music of women composers Hildegard von Bingen, Fanny Mendelssohn Hensel, Florence Price, and Caroline Shaw, a performance intended to highlight the benefits of hearing everyone’s voice.

Alumni Receive CIM Fellowships

Florida State University alumni Liliana Guerrero (D.M. ‘20), Khyle Wooten (Ph.D. ‘21), and alumna and doctoral candidate Devan Moore (M.M.E. ‘16) have been selected for the Cleveland Institute of Music’s Future of Music Faculty Fellowship, a career development initiative established to engage 35 Black and Latinx music profes sionals who are pursuing or considering academic careers, preparing them with the skills, insights, and networks to flourish professionally and influence generations of musicians.

Carriola Quartet: Madeline Miller and Katie Taylor, violin; Megumi Terry, viola; Amber Den Exter, cello

Grammy Award-winning alums Adam Luebke, Ryan Speedo Green, and Ellen Taaffe Zwilich

IDEA grant recipients Carly Fulcher, Matthew Holzaepfel, and Erica Kremer

Honoring Bobby Bowden

Emotions were high in Doak Campbell Stadium as the FSU Marching Chiefs took the field at half time during season opener vs. Notre Dame on September 5. The stands filled with the glow of cell phones held high by thousands of fans as the Marching Chiefs presented a heart-felt memorial to legendary head football coach Bobby Bowden, playing “Amazing Grace” and forming “Bobby” on the field that bears his name.

Chiefs United

On October 22, 2021, the Marching Chiefs launched “Chiefs United.” This fundraising campaign aims to establish a $1.6 million endowment to alleviate the costs associated with student participation in the Marching Chiefs. Once fully funded, it is estimated that the endow ment will be able to provide $150 directly to every Marching Chief to cover uniform shirts, marching shoes, and other associated costs.

Midwest Band Clinic

The FSU College of Music was well represented by faculty, students and alumni who presented and performed at both the 2021 Midwest Band Clinic International Band, Orchestra, and Music Conference (December 15-18). We are so proud of our College of Music family, including Rodney Dorsey (B.M.E. ‘88), Director of Bands at the Indiana University Jacobs School of Music, who was recently announced as the President of the MWBC Board of Directors.

Remembering Carlisle Floyd

The College of Music was deeply saddened by the passing of Carlisle Floyd, leading composer of American opera and beloved professor at the College of Music from 1947 until 1976. His impact on the College of Music and the opera communi ty will never be forgotten. Floyd’s career began with the world premiere of his best-known opera, Susannah, at FSU in 1955. He became the standard bearer for American opera around the world, but always maintained his connection to FSU and Tallahassee. Florida State Opera has presented four of his operas in recent years (Susannah, Cold Sassy Tree, Prince of Players, and Of Mice and Men) and he was a gracious, inspirational, and devoted presence at each one. We know that his operas will continue to delight for generations to come and that his legacy will live on through them.

Music Therapy Helps with COVID Vaccines

Toward the end of the fall semester, students, alumni, and professors from the Music Therapy program came together to provide comfort for children receiving their COVID-19 vaccines at a clinic in Tallahassee. Activities included coloring, learning about instruments, listening to songs, and making music of their own.

Music Therapy students pause for a photo following a COVID-19 vaccine clinic at Tallahassee Memorial Hospital.

Pillar of American opera Carlisle Floyd main tained close ties with the College of Music throughout his career.

FACULTY ALUMNI STUDENT NEWS

FACULTY NEWS

Justin Benavidez was one of the six Florida State University assistant professors to receive the Florida Education Fund’s McKnight Junior Faculty Fellowship, a program that promotes excellence in teaching and research by underrepresented minorities and women. Fellows received a one-year sabbatical to en gage in research and training projects related to securing tenure and promotion. Over the summer of 2021, Benavidez served on the faculty at the Puerto Rico Summer Music Festival & the Round Top Summer Music Festival. He was also on panel discus sions about career paths at the Virtual Tuba and Euphonium Conference and the Tuba Euphonium Charity Series, and worked on his book, Notes for Tubists, a critical volume on the most significant solo repertoire for tuba.

Vienna and found today in various European archives, many from the Archiepiscopal Archives in Kromeriz, Czechia. A number of works received their first performances in 350 years. Brewer has previously consulted with performers and ensembles such as Scho la Hungarica, ACRONYM, the New York Ensemble for Early Music, InAlto, and the Tafelmusik Baroque Orchestra.

In 2021, Buchler also published a video article on well-known song, “Take Me Out To The Ball Game,” in the Society for Music Theory’s public-facing video journal, SMT-V. His article shows an interesting relationship between the song’s little-known introductory verse, which is never sung in ballparks, but which connects beautifully and intriguingly to the popular refrain.

Charles E. Brewer was invited to curate and host two performances by the Atlanta Baroque Orchestra (November 5th and 6th). These performances featured scholar/per formers from throughout the United States who play baroque trumpets, trombones, timpani, strings, and organ who presented a performance based on Brewer’s research and transcriptions of unique manuscripts for music from the Imperial Habsburg Court in

In November of 2021, Michael Buchler became President of the Society for Music Theory, the largest academic society ded icated to music theoretical and analytical research (and the central such society in North America) and a member organiza tion of the American Council of Learned Societies (ACLS). His term is two years, ending in November 2023. Prior to taking the presidential gavel, he has served SMT as Vice-President, Executive Board Member-atLarge, and as Chair of the annual conference Program Committee.

In 2021, Geoffrey Deibel taught at the Great Plains Saxophone Workshop and the Cortona Sessions for New Music. He also performed several concerts with his chamber ensemble, the h2 quartet, and recorded Terry Riley’s Chanting the Light of Foresight with the quartet in June. They performed a concerto with the FSU Wind Orchestra in November and gave masterclasses for the saxophone studio. They also presented at Midwest Clinic, recorded a CD, and appeared as featured guests at the Red Note Music Festival (also featuring Missy Mazolli and Bright Sheng) and the Central Michigan University Saxophone Day.

In 2022, Deibel will be presenting at Mid west Clinic and performing with the Wet Ink Ensemble (DiMenna Center NYC). He has also been selected as a featured evening soloist with the Oklahoma State University Wind Ensemble for the 2022 North Amer

Justin Benavidez

Charles E. Brewer

Geoffrey Deibel (left) and the h2 quartet

Michael Buchler

ican Saxophone Alliance Biennial Confer ence. His solo recording, Ex Uno Plures, will be released this spring.

David Detweiler released his newest CD, Astoria Suite, on NextLevel, an imprint of Outside in Music, on January 22, 2021. The album features new work and perfor mances by Detweiler and fellow Jazz faculty members Kevin Jones (trom bone) and Leon Anderson, Jr. (drums), as well as FSU alumnus Mikailo Kasha (B.M ’20).

Diana Dumlavwalla presented a lecture recital entitled “A Kaleidoscope of Colours: The Globalization of Canadian Music as Led by Female Composers” at Canadian Federation of Music Teachers’ Association Federation National Conference. She is also on the planning committee for the National Conference on Keyboard Pedagogy in the USA.

Eyerly has also received a 2021 Music in American Culture Award from the American Musicological Society for her book Moravian Soundscapes: A Sonic History of the Moravian Missions in Early Pennsylvania. This presti gious award honors a book of outstanding quality that sheds light on some important aspect of the music of the United States and that sets music in a broader cul tural framework.

The book was also shortlisted for the Waterloo Centre for German Studies’ annual Book Prize.

Sarah Eyerly has won three prizes for two of her articles: “Mozart and the Moravians” (Early Music, May 2019) was awarded the Marjorie Weston Emerson Award by the Mozart Society of America, and her co-au thored article “Singing Box 331: Re-sound ing 18th century Mohican Hymns from the Moravian Archives” (William and Mary Quarterly, Oct. 2019) received both the Lester J. Cappon Award by the Omohundro Institute for Early American History and Culture and the Robert F. Heizer Award by the American Society for Ethnohistory.

Lori Gooding was chosen as a Fulbright Scholar to study at the Universiti Putra Ma laysia (UPM) in Kuala Lumpur, Malaysia, starting in January 2021. Gooding partnered with colleagues to advance music therapy clinical and educational opportunities.

Frank Gunderson received honorable men tions from the Alan Merriam Prize Com mittee of the Society for Ethnomusicology and the Best Book Prize Committee of the International Council for Traditional Music for his 2018 book, The Legacy of Tanzanian Musicians Muhidin Gurumo and Hassan Bitchuka: Rhumba Kiserebuka Gunderson was also awarded a Fulbright

Distinguished Chair Award for teaching and research at University of Dar Es Salaam for an entire year, beginning in September 2021. Dr. Gunderson will be leading a group digital humanities initiative entitled “Oral History Narratives of Musiki wa Dansi (dance music) in Dar es Salaam, Tanzania.”

Alexander Jiménez has been named Artistic Director of the Blue Lake Fine Arts Camp in Michigan. He also conducted the Camp’s Festival Chamber Orchestra this past sum mer.

Ian Hobson and Sinfonia Varsovia released Moritz Moszkowski: Orchestral Music, Vol. II on Toccata Classics.

Sarah Eyerly

Diana Dumlavwalla

Frank Gunderson

Alexander Jiménez

In December, members of the San Francis co Symphony premiered Rodney Jordan’s string quintet arrangement of master drum mer Quentin Baxter’s four-movement Art Moves Jazz as part of a unique concert series, “Soundbox.”

Karen Large recently collaborated with Stephanie Sickler (Department of Interior Architecture and Design) on “The Hidden Code: An Exploration of the Intersection Between Woven Textiles and Music.” Their research was awarded a $25,000 Multi-Dis ciplinary Support Grant from FSU’s Council on Research and Creativity. Sickler and Large presented preliminary findings at the IDEC National Conference.

ogy (fall 2019) and received two awards: Honorable Mention for the Jaap Kunst award, acknowledging the most significant article written by a member of the Society for Ethnomusicology during the first ten years of their scholarly career, and the Joann Kealiinohomoku Prize from the Dance, Movement and Gender Section of the Soci ety for Ethnomusicology, which recognizes an outstanding piece of ethnomusicological work that substantially engages the topics of dance, movement, and/or gesture.

League also gave an online plenary talk entitled “Sa dakat and Paradigmatic Notation in the Konstantinos N. Kereako glow Collection” at the Byzantium at Ankara Symposium “Strolling Though the Echoes of the Past,” hosted by Bilkent University, Ankara Turkey.

League has also recently published a new book with University of Michigan Press entitled Echoes of the Great Catastrophe: Re-Sounding Anatolian Greekness in Diaspora. The book explores the legacy of “The Great Catastrophe” – the death and expulsion from Turkey of 1.5 million Greek Christians following the Greco-Turkish War of 19191922 – through the music and dance practices of Greek refu gees and their descendants over the last one hundred years.

the Global United States.” Sarah Eyerly and Rachel Wheeler collaborated on “Music in Unexpected Places: Hearing New Histories of Early American Music.”

Panayotis League’s article, “Grooving Heavy, Dancing Drunk: Gustemic Metaphor and Mimetic Polytemporality in Anatolian Greek Music,” appeared in Ethnomusicol

Three College of Music faculty were recently published in Sounding Together: Collaborative Perspectives on U.S. Music in the 21st Century, edited by Charles Hiroshi Garrett and Carol J. Oja (University of Michigan Press, Sep tember 2021). Panayotis League and Kay Kaufman Shelemay co-authored the chapter “Listening to and Learning from Music of

In Summer 2021, John Will Parks IV served on the orchestral faculty at the Okla homa Summer Arts Institute, was recording technology specialist at the Leigh Howard Stevens Summer Marimba Seminar, and worked on a CD with fellow FSU faculty member, George Speed.

Arianne Johnson Quinn has published an archival study entitled “’My Kingdom for a Hit’: Kurt Weill’s London Exile and the ‘Problem’ of A Kingdom for a Cow,” in the New England Theatre Journal. The article explores the reception and cultural history of Weill’s little-known London musical theatre works in the 1930s.

Panayotis League

Arianne Johnson Quinn

John Will Parks IV

Rodney Jordan

Over the summer of 2021, Iain Quinn presented recitals at King’s Lynn Minster, Truro Cathedral, All Saints, Hastings, and Grosvenor Chapel, London. The tour in cluded performances of the Sonata for Organ by the British composer, Wilfred Josephs (1927-1997), written for Quinn in 1992 and recently published by Paraclete Press. This summer also saw the publication of Dr. Quinn’s edited volume of the Life and Letters of John Bacchus Dykes, England’s foremost hymn writer of the nineteenth century. In November of 2021, NAXOS released Dr. Quinn’s album of Persichetti’s works for organ.

In Summer 2021, Greg Sauer taught at the Brancaleoni International Music Festival and performed at the Victoria Bach Festival in Victoria, TX and the Midsummer’s Music Festival in Door County, WI.

Gregory Sauer and Heidi Louise Williams released Conversa, a cello/piano duo album (December 2021, Albany Records). The recording features 20th and 21st cen tury music from the United States and Brazil and includes the world premiere of André Mehmari’s Grande Baião II, a work commissioned by the duo.

Eric Rieger was invited to give an inter national virtual interview and masterclass on “Singing in German” for the Fundación Cultural Armonía Arte Lirico in Ecuador in September 2020. The class was presented in Spanish and English, and he worked with young singers from Ecuador and Argentina.

Professor Emeritus Douglass Seaton published “Intrigue et persona: le premier mouvement de la Sonate en si mineur de Chopin,” in Narratologie musicale: Topiques, théories et stratégies analytiques, edited by Marta Grabocz, Labex GREAM Collection/ Sémiotique et Narratologie, 405–19 (Paris: Editions Hermann, September 2021). His essay, “Teaching Based ‘Off Of’ the Canon,” formed a chapter in the collection The Nor ton Guide to Teaching Music History that won the 2020 Teaching Award from the American Musicological Society as “an exceptional pedagogical resource.”

Gregory Springer was able to teach at Flor

In Summer 2021, Corinne Stillwell worked as artist faculty at the Brevard Music Center. She also participated in the Victoria Bach Festival from June 9-12, 2021 in Victoria, Texas.

Marcy Stonikas was named a 2021 NATS Intern. Stonikas, baritone Evan Jones, and pianist Timothy Hoekman presented the duet, Song of Moses and Miriam, from Hoek man’s oratorio Prophet Songs at the virtual College Music Society Southern Regional Conference on February 26th, 2021.

ida State University’s Florence Study Center over the summer. During the course of their studies, Dr. Springer and his students were able to visit numerous museums, historic churches, and monuments, and were even allowed to play the organ inside of the Ca thedral of Santa Maria del Fiore.

Professor Emeritus André J. Thomas was named President of the American Choral Director’s Association on July 31.

Corinne Stillwell

Greg Sauer

Gregory Springer (right) and students

L to R: Timothy Hoekman, Marcy Stonikas, Evan Jones

In Summer 2021, Shannon Thomas taught at Green Mountain Chamber Music Festival (Burlington, VT); Hilton Head Chamber Music Institute (Hilton Head, SC); Bran caleoni International Music Festival; Luby Violin Symposium (Chapel Hill, NC).

In summer 2021, Sahoko Sato Timpone presented “Understanding the Linguistic Challenges and Advantages Unique to Native Mandarin, Cantonese, Korean, and Japanese Speakers” with Ryu-Kyung Kim and Stephen Ng at the New York Singing Teachers’ Association. She performed next with the Dianthus Chamber Ensemble in a virtual concert celebrating Asian-American Heritage and was on Artist Faculty at the Lunigiana International Music Festival (Tuscany, Italy).

Assistant Professor of Composition Liliya Ugay received the 2021-2022 Arts & Humanities Program Enhancement Grant (AHPEG) from the Council on Research and Creativity. Designed to facilitate and enhance the productivity of FSU researchers and artists, this grant from the University provides faculty with up to $20,000 to sup port the creation, production, and dissemi nation of arts and humanities research and creative activity.

Heidi Louise Williams won the Graduate Faculty Mentor Award.

STAFF NEWS

Christina Marullo, Opera Costume Designer, had a piece she collaborated on as co-designer with Colleen Muscha (head of the MFA Costume Design Program here at FSU) selected for the final phase of World of Wearable Art. World of Wearable Art is a prestigious design competition and installa tion held in New Zealand.

ALUMNI NEWS

Ryan Aguirre (Ph.D. ‘20) won the McK night Dissertation Fellowship.

Kimberly K. Archer (B.M.E ‘96) was selected by the “President’s Own” United States Marine Band to compose a new work for President Biden’s inauguration. Fanfare Politeia premiered during the ceremonies in Washington, D.C. on January 20, 2021.

Gabriel Arnold (B.M.E. ’03; M.M.E. ’09; Ph.D. ‘16) was named Asst. Professor of Music and Director of University Bands at Savannah State University.

Sean Atkinson (M.M. ’06; Ph.D. ‘09) was named Director of the Texas Christian Uni versity School of Music.

The Dallas Symphony Orchestra premiered Remembering Ruth Bader Ginsburg on Oc tober 7, 2021, a work composed by Marie Krafft Distinguished Professor of Composi tion Ellen Taaffe Zwilich. The work, which received a standing ovation, was featured as part of a Dallas Symphony Orchestra tribute performance to the late Supreme Court Jus tice. This new composition – with texts by Lauren K. Watel, Denyce Graves (mezzo-so prano) and Jeffrey Biegel (pianist and project coordinator), with the Dallas Symphony Orchestra – was co-commissioned by the Dallas Symphony Orchestra, with generous support of the Norma and Don Stone New Music Fund, and the Billy Rose Foundation and the American Composers Forum.

Jalen Baker (M.M. ‘19) recently released debut CD This is Me, This is Us featuring FSU string players and compositions written while at FSU.

Alan Berquist (B.M. ‘02, D.M. ‘20) was awarded the Dalcroze Society of America Memorial Scholarship, and won an adjunct position at California State University, Stanislaus.

Richard E. Brown (M.M. ‘72, D.M. ‘74) re leased a new album: Legends and Light Vol. 2

Annalisa Chang (Ph.D. ‘17) won the Clayton State University College of Arts and Sciences Gene Hatfield Service Award.

Sahoko Sato Timpone

Ellen Taaffe Zwilich

Shannon Thomas

Laura Clapper (D.M. ‘18, M.M. ‘19) has won a job with the US Army Old Guard Fife and Drum Corps.

Since September 2019, Michael Cooper (M.M. ‘88) has published with G. Schirmer (New York) sixty-two editions of previously unpublished compositions in a variety of genres by Florence B. Price (1887-1953), the first African American woman to have her music performed by a major U.S. orchestra. Cooper has also launched a series of thir ty-seven editions of previously unpublished compositions by Margaret Bonds (191372) with Hildegard Publishing Company (Worcester, MA).

Explorations of Opera (Oxford University Press, 2020), which received the Society for Music Theory’s “Citation of Special Merit” Outstanding Publication Award in Novem ber 2020.

Victor Fernandez (B.M. ‘05, B.M.E. ‘05, M.M.E. ‘07) was named Teacher of the year at Beacon Cove Intermediate and launched a Youth Orchestra in Palm Beach County.

Rebekah Franklin (M.M. ‘17, Ph.D. ‘21) won the Program for Instructional Excellence Teaching Associate Award and was appointed to the position of Adjunct Instructor of Music History at Oklahoma Baptist University.

Former doctoral student Jamal Davidson won a job with the 282nd Army Band at Ft. Jackson.

Gregory John Decker (M.M. ‘07, Ph.D. ‘11) co-edited a book with former FSU music theory faculty member Matthew Shaftel titled Singing in Signs: New Semiotic

Jeff Denson (M.M. ‘05) was featured on the cover of JAZZed Magazine’s Aug/Sept. 2020 issue. Today he serves as the Dean of Instruc tion at the California Jazz Conservatory.

Tommy Dobbs (D.M. ‘17) won a job at Oklahoma City University.

In 2020, Keith Dodson (Ph.D. ‘20) was hired as an Assistant Professor of Music and Director of Instrumental Studies at Bethany College in Lindsborg, Kansas. He was also hired to conduct the South Kansas Music Educators Middle School Orchestra Festival.

Matthew L. Garrett (B.M.E. ‘93, Ph.D. ‘09) and co-author Joshua Palkki published Honoring Trans and Gender-Expansive Students in Music Education with Oxford University Press. The book encourages music educators to honor gender diversity through caring, research-based practices across choral, instrumental, and general music classroom environments by highlighting the narratives and experiences of trans and gender-expan sive musicians.

Congratulations to FSU Alumna Jazmin Ghent (B.M.E. ‘13) on “Kickin’ It Up,” her #1 hit on the Billboard Smooth Jazz Airplay chart! Her album, Forever Jazz, can be found on Apple Music, Spotify, and Amazon Music.

Bass baritone Ryan Speedo Green (M.M. ‘10) was named as a winner of the 2021 Beverly Sills Artist Award by the Metropoli tan Opera.

Michael Cooper

Keith Dodson

Annalisa Chang

Gregory John Decker

Voice performance alumna Liliana Guerrero (D.M. ‘20) was named a 2021 Voice Intern with NATS and won the NATS Irma Cooper award, the Phi Kappa Phi Love of Learning Award, and the Society for Ameri can Music Edward T. Cone Fellowship.

Kayla Hanvey (M.M. ‘19) won a Fulbright Study/Research Grant to study extended techniques in Hungarian repertoire for the flute under the tutelage of István Matuz in Budapest, Hungary.

Kayleen Justus (M.M. ‘08, Ph.D. ‘14) was appointed to the position of director of the steel band program at Leon High School.

In 2020, Keith Kaiser (Ph.D. ‘98) served as Interim Dean of Ithaca College and was named the Charles A. Dana Professor of Music Education.

Jacob Kight (D.M. ‘20, M.M. ‘17) won a position in the United States Air Force Band Ceremonial Brass in Washington D.C. He is currently a Visiting Assistant Professor of Percussion at the University of South Florida.

Thomas Lanners (B.M. ’87), Professor of Piano at Oklahoma State University, was a member of the second group of pianist-ped agogues to be inducted into the Steinway and Sons Teacher Hall of Fame in September 2021. He was also the 2021 recipient of the Wise-Diggs-Berry Endowed Award for excellence in the visual, performance, or written arts at Oklahoma State. In December Lanners presented both an online lecture and masterclass for China’s Sichuan Conserva tory and a video session for the Shanghai Conservatory of Music International Piano Pedagogy Festival (which had 600,000 regis trants in 2020).

Steven Lewis (B.A. ‘13) has been named the new Curator of Music and Performing Arts at the National Museum of African Ameri

can History and Culture. He began his new appointment in November 2021.

Prior to joining the Smithsonian Institution, Lewis served as the Founding Curator of the National Museum of African Ameri can Music in Nashville, Tennessee. After completing his B.A. in Jazz Studies at FSU, Lewis earned the M.A. and Ph.D. in Critical and Comparative Studies in Music from the University of Virginia.

The University of North Carolina Board of Governors selected UNC Greensboro’s Rebecca MacLeod (M.M.E. ‘03; Ph.D. ‘06) to receive a 2021 Award for Excellence in Teaching. MacLeod, Professor of Music Education at UNCG, is a national and international leader in music education. She champions the idea that everyone can and should express themselves musically and artistically.

Pedro Maia (D.M. ‘20) soloed with the Tallahassee Symphony at the city’s Celebrate America event on 7/4/21.

Julio Agustin Matos, Jr. (B.M. ‘90) recently published a peer-reviewed article in Theatre Topics entitled “From Mu-Cha-Cha to Ay! Ay! Ay! A Critical Explication of the Use of “Latin” Dance Styles and the Absence of Latinx Creatives in the Broadway Musical.” He was recently appointed the Director of Music Theatre at Elon University.

Carol McDowell (M.M.E. ‘87, Ph.D. ‘98) wrote a new children’s book (I Know an Old Lady Who Swallowed a Drum) and co-au thored a textbook called Therapy Groups Using the Creative Arts, Second Edition.

Raphaella Medina-Hughes (B.M. ‘15) was named a Tier I finalist in the prestigious James Toland Vocal Arts Competition. Because of the pandemic, all finalists were named Bonnie Bell Encouragement Award winners and will automatically advance to the semifinals in next year’s competition.

Thomas Lanners

Steven Lewis

Rebecca MacLeod

Julio Agustin Matos, Jr.

Raphaella Medina-Hughes

Laura Meehan (M.M. ‘14) was recently awarded “Teacher of the Year” for Hillsbor ough County Public Schools, the 7th largest district in the United States. She teaches adapted music at Caminiti Exceptional Center, a public Title I school for students with significant disabilities. She is currently pursuing the Ph.D. in Educational Leader ship with a focus in special education at the University of South Florida.

In 2020, Allen Molineux (D.M. ‘86) had two of his compositions published: The Haydn Refashioned for trumpet and piano (Brixton Publications) and In Parabolic Praise

for solo trumpet (Hickman Music Editions). In May 2021, the BBC Symphony Orchestra recorded Introit & Flourishes by Stephen Montague (B.M. ‘65, M.M. ‘67) written for the Royal Opening of The Francis Crick Institute, London, and broadcast the work on the BBC, June 30th.

Haley Nutt (M.M. ‘17, Ph.D. ‘20) was ap pointed to the position of Instructor of Mu sicology at Western Washington University

Kelsey Paquin, (D.M. ‘21) has been award ed the Presser Graduate Music Award.

Joanna Pepple (Ph.D. ‘19) was appointed to the position of Accreditation Assistant for the National Association of Schools of Music (NASM).

Second year bassoon master’s student Bridget Piccirilli (M.M. ‘21) went to the Aspen Music Festival as a Bassoon Fellow in summer 2021. She also played in a virtual performance for the International Clarinet Association’s 2021 Conference with the Civitasolis Reed Quintet.

Sarah Gilbert Pickett (Ph.D. ‘21) has accepted a full-time position as Executive Manager of the Center for Music Eco systems. She’ll be working with a team of researchers to develop ecologically sustain able music programs alongside UN agencies to create a policy that follows the UN’s 17 Sustainable Development Goals. She will continue to teach at Georgia Gwinnett Col lege and operate her violin repair shop.

Holly Riley (M.M. ‘17, Ph.D. ‘20) was appointed to the position of Postdoctoral Teaching, Research, and Mentoring Fellow in the Davidson Honors College at the University of Montana in Missoula.

In 2020, Diana Sanchez (D.M. ‘21) was appointed Adjunct Faculty in Violin at the Preparatory School for the Peabody Conser vatory. She began teaching applied violin and chamber music remotely in the fall of 2020, moving to in-person instruction in 2021.

Amina Scott (M.M. ‘19), Emily Mikesell (B.A. ‘16), Emily Fredrickson (B.A. ‘12), and Marisa Webster (B.A. ’19) recently performed with jazz singer Dee Dee Bridge water at the Detroit Jazz Festival.

Allen Molineux

Stephen Montague

Laura Meehan

Bridget Piccirilli

Hannah Sellers (B.M. ‘19) was recently fea tured in an article on majoringinmusic.com highlighting the importance of telehealth and how Music Therapists are utilizing different tools during the COVID-19 pandemic. Hannah is currently pursuing graduate studies in Music Therapy at Florida State University.

Jessica Sherer (D.M. ‘15) won a ten ure-track job at Valdosta State University.

Ethan Gonzalez Soledad (B.A. ‘21) was chosen as a sole winner of 2020 Stephen Paulus Emerging Composers Competition for his choral work When I Rise Up

Kelly and Donald Sorah (M.M. ‘08) recent ly presented “Maintaining Effective Com munication Through Collaborative Applied Music Practice Records” at the 45th Annual International Trumpet Guild Conference.

Lina Sofia Tabak (B.M. ‘19) was selected for 2020 Best Student Presentation at the Society for Music Theory National Confer ence. She’s the first undergraduate student ever to be invited to present a paper at Music Theory Southeast. She also presented a new

research topic “The Unstable Madwoman in ‘Glitter and Be Gay’” at the FSU Music Theory Forum, inspired by the FSU opera performance of Candide.

Ben Tomlinson (D.M. ‘17) won a job at Oklahoma City University.

Anthony Trecek-King (M.M. ‘00) hosted a mini-series on 90.7 KVNO called “The Silent Canon.” The show explores the work of musicians of African descent, centering their stories and their music.

Aaron King Vaughn (B.M.E. ‘15, M.M. ‘19) was selected to compete in the City of Music International Orchestral Competition in Spain (July 12-17, 2021).

Katrina Young (B.A. ‘15) represented Team USA in platform diving at the Tokyo Olympics.

John Rine Zabanal’s (M.M.E. ‘14; Ph.D. ‘19) article, “Research-to-Resource: Applying a Self-Care Framework to Music Education,” was published in Applications of Research in Music Education (November, 2021).

STUDENT NEWS

From the saxophone studio: M.M. student Blake Adams won the MTNA Florida Young Artists competition and will be com peting at the Regional Round this spring; B.M.E. student Andrew Becker won the FSU Young Artists Concerto Competition.

Current students Marina Akamatsu, Lauren Barfield, Yulia Billa, Bang-Shyuan Chen, Tara Davy, Carly Fulcher, Bridget Gorder, Becca Harrison, Jonathan Kierspe, Jack Lyons, Melanie Millo, Jose Antonio Serrano (B.A. ‘19), Christopher Tavernier, and Gene Waldron have each received a Tal lahassee Music Guild Scholarship. Christo pher Tavernier is the recipient of the Guild’s Janice Harsanyi Scholarship.

Doctoral student Chase Banks (B.M.E. ‘16) won the Tallahassee Music Guild Scholar ship.

Rachel Bani, (M.M. ’18), a Ph.D. candi date in musicology in the College of Music, has received a Presser Foundation Graduate Music Award. Following a competitive proposal process involving review by College of Music faculty and the Presser Foundation, this $10,000 award will assist Rachel in her research of Scottish song tradition. Rachel has already presented at the North American British Music Studies Association and was awarded the 2021 Student Paper Prize by the Southeastern Chapter of the American Musicological Society. In addition to her research, Rachel is also an active member of the Irish and Early Music Ensembles at the FSU College of Music.

Hannah Sellers

Ethan Gonzalez Soledad

Donald Sorah (right)

Rachel Bani

Second year collaborative piano master’s stu dent Rebecca Edmiston worked as a vocal coach at Interlochen Summer Arts Camp in Summer 2021. She was also a student at Emerald Coast Chamber Music Festival.

Current bachelor’s student Julia Gill was selected as a finalist for the 2021 Inter national Trumpet Guild’s Ryan Anthony Memorial Trumpet Competition in Wind Band Excerpt Division. The final round of the competition took place virtually during the ITG Conference in June 2021.

Music Education student Julia Gill and recent Brass Performance graduate Ross Mitchell (M.M ’21) have been selected as two of the three finalists to advance to the live finals of the NTC Military Wind Band Competition in Greensboro, NC this summer.

In Summer 2021, Instrumental Music Ed major Tristan Goodrich attended the International Trombone Festival 2021 in Columbus, Georgia.

Ph.D. Music Education/ Choral Conduct ing student Morgan Luttig was recently recognized by the Florida State University Program for Instructional Excellence (PIE) to receive a 2020-2021 Outstanding Teach ing Assistant Award.

Junior violin performance major Rebe ca Masalles, a student of Dr. Shannon Thomas, won the Young Artist division of the Florida Music Teachers National Association’s (MTNA) strings performance competition.

Doctoral student McKenna Milici (M.M. ‘15, M.M. ‘16) won the Outstanding Teach ing Assistant Award.

Composition major Alejandro Rodriguez won the Songwriting Challenge hosted by The National Endowment for the Arts with the American Theatre Wing. His song will be recorded by Broadway musicians in NYC.

Current doctoral student Rachel Sorenson (M.M.E. ‘19) was published in Update: Applications of Research in Music Education Her article is titled “Perceptions and Pre paredness: Preservice Music Educators and Popular Music Teaching Skills.”

In Summer 2021, Percussion Performance major Connor Willits participated in the Eastern Music Festival in Greensboro, NC, in the Orchestra Program, where he per formed with the Young Artists Orchestra as well as a Percussion Ensemble

Julia Gill

Rebeca Masalles

Tristan Goodrich

Alejandro Rodriguez

Morgan Luttig

Connor Willits

In Memoriam

Mary Jo Allman (B.M.E. ’56) 1/23/2021

Jane Ellis Bolen (PhD. ’74) 11/23/2021

Winnie McSwain Brandes (B.M. ’53) 3/29/2021

Louise Thrasher Carpenter (B.M. ’40, B.M. ‘41) 1/27/2021

Shirley Woodruff Hicks (M.M. ‘86) 12/28/2021

Robert E. Ritcey (B.M.E. ‘70) 1/7/2021

Joanne Byrd Rogers (M.M. ‘52) 1/14/2021

Carlisle Floyd (1926-2021) passed away on September 30, 2021, at the age of 95. The South Carolina-born Floyd was a leading composer of American opera and beloved professor in our FSU music program from 1947 until 1976. Floyd’s career began with the world premiere of his best-known opera, Susannah, at FSU in 1955. He became the standard bearer for American opera around the world, but always maintained his connection to FSU and Tallahassee. Florida State Opera has presented four of his operas in recent years (Susannah, Cold Sassy Tree, Prince of Players, and Of Mice and Men) and he was a gracious, inspirational, and devoted presence at each one. His operas will continue to delight generations to come and his legacy lives on.

Nancy Fowler (1929-2021) passed away on November 21, 2021. The Ohio native served on the College of Music faculty as a woodwind professor specializing in the oboe from 1955-2003. She enjoyed a vibrant 48-year career as an oboist, pedagogue, and mentor to genera tions of students at FSU and beyond. Her many profes sional accomplishments include a Fulbright Scholarship to study with Haakon Stotijn, distinguished principal oboist for the Concertgebouw Orchestra, Netherlands (1958-1959), serving as Secretary to the Internation al Double Reed Society (IDRS), and co-hosting two meetings of the IDRS. Fowler was an active adjudicator and woodwind clinician as well as an active perform er throughout the Southeastern United States. She performed in numerous orchestras and was a founding member of the Tallahassee Symphony Orchestra and the Tallahassee Winds. In recent years, she established seven endowments at the College of Music, ensuring her musical legacy while also honoring her mother, Rita R. Fowler, and colleagues Pamela L. Andrews, Robert N. Sedore, Richard D. Mayo, and Robert T. Braunagel.

Yvonne Ciannella (1926-2022) passed away on March 1, 2022. She was born in New York City and had a successful career as a soprano from the early 1950s until the late 1960s singing in operas in Austria, Germany, and the United States. She taught at FSU from 1969 and until her retirement some 30 years later.

From Douglas Fisher: “I heard her sing her final perfor mances in opera – as Antonia in The Tales of Hoffmann, Mimi in La Boheme, and Miss Wordsworth in Albert Herring. She was controversial, hilariously funny, end lessly demanding, tough as nails, and one of the greatest influences on me as a musician. One of my greatest memories is of a moment in John Boda’s opera literature class when I was a graduate student. She came to the class to sing the Salce and Ave Maria from Verdi’s Otello when we were studying that opera, and after a beautiful performance of that long and demanding scene, her voice cracked on the final pianissimo high A-flat. She held up her hand to stop anyone from applauding, took a breath, and the room came alive with the most perfectly beautiful, longest pianissimo soprano note I have ever heard come from a human throat. When she finally released the note, she walked out of the room without comment – satisfied that she had done Verdi’s music proud. She is the reason that I returned to FSU to teach – she called me when I lived in New York and encouraged me to apply for the new job with the opera department, and she was my champion and strongest supporter when I started to teach. She is undoubtedly teaching the angels how to improve their breathing, give meaning to every single word they sing, and always strive to be better.”

CHIEFS UNITED FUND

Strengthens a Legacy of Excellence

The Marching Chiefs announced an exciting new initiative this year to ensure a stronger, more inclusive future for the band. Chiefs United is the most ambitious campaign the Marching Chiefs have ever launched. With a goal to raise $1.6 million in endowed support, Chiefs United will provide direct funding to every member of the Chiefs – 420 strong each year – for shoes, shirts and more, in perpetuity.

The Chiefs United campaign had its soft opening during Homecoming last year and drew great success during the FSU Foundation’s “Great Give” in March. The Chiefs raised nearly $150,000 in just 24 hours – more than they have ever raised in a single day! The College of Music has also raised an additional $96,000 in pledges and commitments for the Chiefs United campaign.

Marching Chiefs students spend more than 23 hours per week during the season learning repertoire, practicing, rehearsing, and performing. Auditions run for two weeks before fall classes and consist of long days marching and playing in the Florida heat. With Chiefs United, band leadership sought a way to cover incidental costs for students who participate in Chiefs.

Dr. Patrick Dunnigan, Director of Bands, is enthusiastic about this initiative and the support it has received thus far. “Chiefs United will allow us, for the first time ever, to provide direct financial support for our students - all of them. We know this is an ambitious, multi-year goal, but the enthusiasm and excitement surrounding this campaign has been wonderful to see.”

The outpouring of support and donations from the entire FSU community has been inspiring. It speaks to the lifelong bonds formed in the Marching Chiefs, and to the appreciation for musical excellence held by all who hear them. Members of the Marching Chiefs come from all corners of FSU – from business to the arts, and from English majors to STEM. Marching Chiefs Alumni have met their spouses, business partners, and lifelong friends while playing in the band. Chiefs United aims to make this unforgettable experience more accessible by relieving the financial burden of participation for new Marching Chiefs.

To learn more about Chiefs United, including how to make a gift, please visit https://music.fsu.edu/chiefsunited.

Chiefs United will allow us, for the first time ever, to provide direct financial support to our students - all of them.”

– Dr. Patrick Dunningan, Director of Band

MAJOR GIFTS, FRIENDS AND SUPPORTERS

Private philanthropic support is critical to ensuring that the College of Music continues its legacy of music excellence. Through both outright and estate gifts, this generosity has enabled the college to provide student and faculty support, innovative programs and a world-class learning environment. Total giving to the College of Music in 2021 and 2022 was over $5 million. The college would like to recognize the following donors for their exceptional contributions.

Ruth R. and Robert L. Akers

Les and Ruth Akers Fund for Entrepreneurial Activity in Music

Anonymous

Friends of Music

Band Alumni Fund

Band Alumni Endowed Scholarship Fund

Anonymous

Jayne Standley Scholarship in Music Therapy

Florence Helen Ashby

Professor Florence Helen Ashby and Laird B. Anderson Mezzanine

Ballard Partners, Inc. Gregory Turbeville Scholarship Fund

Ramona D. Bowman University Orchestras Travel Fund

Robin D. Black

Evelyn E. Black Endowed Music Scholarship

Anthony N. and Helen C. Brittin

Anthony N. Brittin Endowed Scholarship in Music

Chavez-Tatro Family Foundation

Bill and Lynnie Tatro Music Scholarship Fund

Jeanne N. and Lawrence N. Curtin

Roberta “Bobbie” Rusk Clark Endowment for Marching Chiefs

Michelle L. and Andrew F. Feinberg

Michelle and Andrew F. Feinberg Endowed Music Scholarship

Patricia Fish

Lloyd A. Fish, M.D. Endowed Scholarship in Music

Myra M. and John H. Greve

James E. Croft Endowment for Music

Linda J. and R. Fred Hester Sacred Music Scholarship Fund

Doris R. Henderson Lee Henderson Marching Chiefs Instruments Endowment Fund

Russel E. Hilliard

Mary J. Hilliard Music Therapy Scholarship Fund

June M. Knight

Friends of Music

The Estate of Helen Latzer

Howard and Helen Latzer Endowed Fund for Excellence in Music

Clifford K. and Mary M. Madsen

Clifford K. Madsen Endowed Lecture Series

Clifford K. Madsen Scholarship Fund

Joseph C. and Rebekah B. Montgomery June Conyers Montgomery (‘54) Scholarship Fund

Craig S. Evans and Dwight S. Myers

Craig S. Evans and Dwight S. Myers

Endowment for Music

J. Michael and Judith B. Pate

Chiefs United

Nancy Croft Pierson

James E. Croft Endowment for Music

Kevin Platt

Bobbie Lou Kaminis and Jan Kaminis Platt Endowed Scholarship in Music

Marjorie J. Portnoi

Herbert T. Portnoi Scholarship Fund

The Presser Foundation Presser Foundation Fund

Estate of Ronald Roberts Friends of Music

FSU Summer Music Camps Fund

Lauren Todd Chiefs United Triangle Jazz Party, Inc. Stephen D. Blades Fund for Jazz Travel and Outreach

Rebecca J. Turbeville

Gregory Turbeville Scholarship Fund

$50,000-$99,999

Florence Helen Ashby and Laird* B. Anderson

Anthony N. and Helen C. Brittin

Chavez-Tatro Family Foundation

Lawrence N. and Jeanne N. Curtin

R. Fred and Linda J. Hester

J. Michael and Judith B. Pate

Rebecca J. Turbeville

$25,000-$49,999

Les and Ruth Akers

Ballard Partners, Inc.

Kathryn and Brian Ballard

Patricia A. Fish

Clifford K. and Mary M. Madsen

Nancy C. Pierson

Kevin Platt

Michele Platt

The Presser Foundation

Mark C. Tatro

$10,000-$24,999

Joseph C. and Rebekah B. Montgomery

The Community Foundation for Greater Rome, Inc.

Robert C. Parker

Ramona D. Bowman Triangle Jazz Party, Inc.

Vernon C. Stutson

Westminster Oaks Residents’ Council

Lauren E. Todd Carole D. Fiore

Robin D. Black

Bill F. and Polly Findeison

Alan R. and Carol A. Flaumenhaft

Jeffrey D. Gargiulo and Valerie Boyd

Russell E. Hilliard

Christopher E. Iansiti and Michael A. Fornaro

Nancy and Richard D. McKay

Shelby R. Smith

$5,000-$9,999

Thomas W. and Catherine A. Bishop

Michael S. and Melissa N. Booth

Karen N. Bradley

Malcolm H. Brown

J. W. Richard and Tina R. Davis

Kevin A. and Suzanne Fenton

Fidelity Charitable Gift Fund Susan L. and David E. Fraze Marshal D. Gibson

Steven L. and Suzanne S. Hearn

Edwin F. Hornbrook Cottage Grove, Inc.

Kappa Kappa Psi / Gamma Nu

Thomas F. Kirwin

Richard J. and Ann E. Martorano

Olene W. Nelson

Kyle and Becky Riva

Charles E. and Persis* E. Rockwood

Schwab Charitable Fund

Wendy L. Sims

William G. and Paula P. Smith

Tallahassee Music Guild, Inc. Ashbel C. and Janet E. Williams Marilynn T. Wills

$1,000-$4,999

Richard S. Abrahams

James H. and Ruth A. Alexander

Frank W. Almond

American Endowment Foundation

Henry J. and Elizabeth D. Angelbeck

Aquatic Art Pools & Spas, LLC

Marcus D. and Janice A. Beaver

Beethoven & Company, Inc.

Cynthia E. Berry

Geraldine L. Biringer

John T. Black

Stephen D. and Judy Blades

Vincent M. and Jane C. Bocchino

Thomas E. Bouse

Carol L. Bracy

Kenneth G. and Jeannie M. Brodhead

Emma S. Brown

Michael E. Broyles and Denise R. Von Glahn

Thomas Buchanan Carl M. Burkhardt

Donna G. and Jimmie R. Callaway

Joseph W. and Carol M. Cartus

William E. and Barbara S. Coen

Timothy A. and Peggy J. Cole Rebekah C. Covell

Dawn M. and John H. Crawford

Ana Cruz

Ewell T. Denmark

Ginny L. and L. G. Densmore

Kimberly K. and Allan W. Dickson

Harold A. and Lou Ann L. Doll

Janice L. Dougherty

Kathy H. and David P. Dunnigan

Kristen E. and Jason C. Esteve

Curtis E. and Jo Ellen H. Falany

Andrew F. and Michelle L. Feinberg

Stanley and Carole D. Fiore

Katherine K. Fite

Patricia J. Flowers

Bonnie L. Fowler

William E. Fredrickson and Suzanne R. Byrnes

Elizabeth H. Gardner

John M. and Mary G. Geringer

James M. Gossler

Laura G. Green

Stephen R. Greenwald

Franklin L. and Judy A. Hagenbeck

Alfred B. and Lindsay A. Hager

Frank A. and Chris C. Hall

Tom and Dianne* Haney

Michael D. and Marsha E. Hartline

Ryan L. and Theresa T. Hearn

Marc J. and Kathryn A. Hebda

David M. Hedgecoth

Norma S. Hedgecoth

Doris R. Henderson

Laura L. Hendrix

John L. Ho

Donna E. Hobbs

Glenn R. Hosken

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