Lisa Smith, Lecturer in Guitar in the UHM Music Department, gets a kind of sparkle in her eyes when asked about her philosophy of teaching, the kind of sparkle that comes when you think about the things you really like to do. "I love to teach," she says, "Is that a philosophy?"
Lisa teaches by instinct. Her object, she says, is for her students "to develop a sound basis for a lifetime of guitar playing." She encourages students who may be lacking in self-confidence. "Students need to know that the world is their oyster," she says, "and that with a guitar under their arm they can go anywhere they want." But she expects students to carry on an internal dialogue, a sort of self-examination with regard to music and the guitar. "I encourage my students continually to ask themselves what music means to them and to expect the answer to change," she says.
With her red hair and freckles, pretty Lisa looks like an Irish colleen, but actually she's homegrown, born in Honolulu. She has been teaching since she was a student at Punahou, where she taught a guitar class to twelve- and thirteen-year-olds during summer school when she was only fourteen years old. By then she had already studied guitar for eight years. After graduating from Punahou in 1980, she studied with Pepe Romero of the famous Romero guitar family in California, where she earned both Bachelor's and Master's degrees in music from the University of California at San Diego. Since 1984, she has concertized as a soloist in the United States, Canada, and Europe. She was on the faculty of the University of San Diego from 1987 to 1991, then received a Fulbright Scholarship for study in Germany, where she spent two years. She returned home in August 1993 to become a Lecturer in Guitar at UHM. Lisa says that Hawai'i's special aloha for the guitar is just as strong as Mexico's or Spain's, and she is optimistic about a bright future for the instrument here.
Lisa likes to perform as well as teach. She concertizes regularly both in the United States and Europe. In February 1996 she will be performing with flutist Karen Lonsdale in Australia and giving master classes; she will be performing here in Honolulu at KHPR and at other venues in March 1996 with soprano Leda Asher Yager. During Summer 1996 she plans to perform and teach in Salzburg, Austria and at a festival in north Germany.
Lisa is proud of the Guitar Orchestra, which includes members of the community as well as students. She features music by local composers on the Orchestra's concerts. In November, the Orchestra played six pieces by Byron Yasui and Ethnomusicology graduate student Randy Kohl. The UHM music faculty showed its confidence in Lisa recently when it approved the offering of the Master of Music performance degree in Guitar. All in all, things are looking up for guitarists at UHM, and much of the reason for that is due to Lisa and her enthusiasm.
Noenoelani Zuttermeister, lecturer in Hawaiian chant and dance in the UHM Music Department, considers herself part of a precious tradition handed down from generation to generation in Hawai'i. Noenoelani's Hawaiian mother, Kau`i Kukahiwa Zuttermeister, began learning hula in her twenties, urged to do so by her husband, an American of German descent who had retired from the U. S. Navy and settled in Hawai'i. "My Mom was not eager to become a haumana [student] of hula," says Noenoelani. "She thought that shaking the hips was sinful, but my Dad encouraged her, driving her to her hula class several times a week. It's ironic that it has often been non-Hawaiians who have helped us see value in our own Hawaiian traditions." Kau'i went on to become a kumu hula [teacher of hula], found her own halau [center for hula instruction, also referred to as "hula studio"], and teach the hula/chant tradition - handed down to her from her kumu Samuel Pua Ha`aheo of Kahana, O'ahu. In 1984 the United States National Endowment for the Arts awarded Kau`i Zuttermeister a National Heritage Fellowship.
Noenoelani started learning hula when she was three years old; she was only twelve when her mother gave her a class to teach. At the age of fifteen she took over her mother's halau in Kaneohe. Her daughter Hau`olionalani takes over her hula classes when she goes on vacation, but is not a regular teacher. She hopes that her eight-year-old granddaughter Kahula will carry on the tradition.
When Noenoelani was asked to teach at UHM she was concerned about transmitting what is essentially an oral tradition - hula and chant - in a Western-based curriculum that stressed writing. Fortunately, the Music Department supported her approach. Her mother's kumu, Pua Ha`aheo, would not allow his haumana to write down or record chants. (Noenoelani describes chanting as "the language of the gods.") Everything in the class had to be learned by ear.
Continuing the tradition, Noenoelani's students commit nothing to paper; they memorize the chants as well as the motions of the dance. Noenoelani goes through the chants with them word by word. "Students don't have to be fluent in Hawaiian, but they need to know the precise meaning of every Hawaiian word they chant or dance to, because the dance illustrates the chant," she says.
Noenoelani does not change the chants or dances learned from her mother because she believes that the tradition should be transmitted unchanged. "If you inherited a beautiful holoku [long dress] from your grandmother, would you cut it up to make something new?" she asks. "No. You treasure what she has handed down to you from the past. Likewise, you keep the old chants and dances intact. Of course, there is nothing wrong in creating your own new chants and dances to celebrate the present. But you keep the past and the present separate."
Noenoelani has students of diverse ethnic backgrounds in her classes. Some are of Hawaiian descent, young people getting in touch with their own culture. Others are of Asian or Caucasian descent. She says she has been somewhat surprised because in addition to learning about places important in Hawaiian culture and the physical benefits of the dance, the students say that they find the dancing and chanting a relief from stress. She is pleased about this by-product of her instruction. What she wishes to impart to students above all, however, is the realization that they have mental powers capable of committing complicated dances and chants to memory, thereby becoming vessels for the transmission of an ancient tradition to the present generation.
It should surprise no one that a message from my office echoes news of the financial woes widely reported in our state. As I write this, the proposed cuts for 1996-97 to the UH budget remain very probable. One might ask why a Department like ours has not "saved up for a rainy day" such as we are now experiencing. The answer lies in the fiscal policies of our state which are set up to discourage problematic "entrepreneurial" tendencies that reside in some of us - policies which preclude any degree of fiscal independence. In practice, this means we must use all of the money we receive for the year or turn it back to the state. This, of course, discourages frugality and long-term planning. It also means that we end every school year with a zero balance.
Upon becoming Music Department Chairman and examining our finances, I was surprised to find that although we had many endowed scholarship accounts in the UH Foundation, no endowed account benefitted the Music Department in general. Hence, we are entirely dependent upon the budget described above. As a step toward ensuring future fiscal stability, I have encouraged contributions to the Music Department in the hope of building a balance sufficient to establish an endowment which generates funds that will contribute directly to our many activities. The value of this kind of planning is evident when one imagines the stability we would enjoy today if this action had taken place (say) 30 years ago! Therefore, I am encouraging the simple designation Music Department on donations to our program. Your help and generosity will work toward an increasingly enriched music environment at UHM.
On 25 March 1995, soprano May Murakami Iino, a former Hawai'i resident and music student at UHM, passed away in San Francisco. As was her style, she made her exit with no fanfare or hoopla, and it was only by chance that I noticed an obituary in the local newspaper which said that private services had already been held.
May Murakami was the first Pan-Pacific Regional winner of the Metropolitan Opera Auditions in 1963, a gifted but most unassuming young woman from the town of Wahiawa. She advanced to the New York competition where she was a national semi-finalist. Although she did most of her undergraduate work at UHM, she actually finished her bachelor's degree at Indiana University's School of Music, where she also earned a master's degree in performance. After carrying on post-graduate studies in Germany, making two recordings of Japanese folk and classical music, and performing with the New Haven Opera Society and orchestras on the East coast, mainly as soloist, she returned to school to earn a Doctorate in Vocal Performance at the University of Arizona. She eventually moved to San Francisco and engaged in an increasingly active musical life until she was diagnosed with an advanced stage of cancer.
Since many people in Hawai'i knew May, I am sending out this message for two reasons. The first is that our mailing list includes many of her friends who still may not know of her untimely passing. The second is that many people have expressed a desire to set up a memorial award in her name, if only to honor the glory she brought to this Department some 33 years ago. Unfortunately, the UH Foundation now requires a considerable sum of money ($25,000) to establish an endowment award in someone's name. As Chairman, therefore, I am asking all of you who may wish to help in this effort to donate what you can to the Music Department Enrichment Fund and to write Murakami on the lower left portion of your check. A subaccount will be kept to tabulate all contributions to this effort as we begin to work toward our goal of meeting the monetary requirements of the award.
The UHM Music Department announced student winners of scholarships at its Spring Semester convocation on 4 May 1995 and expresses appreciation to all those whose contributions have made these awards possible. Awards and recipients:
Faculty and alumni of the UHM ethnomusicology program were active at the annual meeting of the Society for Ethnomusicology (SEM) in Los Angeles in October.
René Lysloff (MA 1982) organized a full day's pre-conference symposium on Music Technoculture.
During the regular sessions, papers were presented by faculty:
Alumni also presented papers:
Sessions were chaired by Ricardo Trimillos and alumni David Harnish, Stephen Slawek, Theodore Solis (MA 1970), Amy Stillman, and Roger Vetter (MA 1977).
Also attending were Barbara Smith (emeritus); Virginia Gorlinski (MA 1989); Andrew Killick (MA 1990) and Jennifer Stasack (MM 1992), who presented a report on "Professional Impact of Korean Study" in a conjunct session on resources for the study of Korean traditional music and dance. Andrew was elected member of the steering committee of the Association for Korean Music Research.
Current students who attended the meeting included Verne de la Pena, Yoko Kurokawa, Yong-Shik Lee, Unjung Nam, Adam Tucker, Ju-Hua Wei, Chao-Jung Wu, and Xianghui Zhou.
SEM Chapter activities have benefitted from contributions by alumni with papers by Virginia Gorlinski (MA 1989), "Sing for Us! Tell Us Your Name! Aspects of Music and identity Among the Kenyah Lepo' Tau of Sarawak, Malaysia" and R. Anderson Sutton (MA 1975), "Do Javanese Gamelan Musicians Really Improvise?"
Alumni have also chaired sessions: Nancy Guy (MA 1991), David Harnish (MA 1985) and René Lysloff (MA 1982) and served as an officer: Amy K. Stillman (MA 1982), Vice-President of the Southern California Chapter.
Alumni also contributed to the Pacific Science Congress held in Beijing, China, in June 1995: Etsuko Higa (MA 1976) and J. Lawrence Witzleben presented papers; Lawrence and Min Wang (MA 1993), who served as administrative assistant for the session on the role of traditional music in the twenty-first century, also translated papers and discussion.
Barbara Smith (emeritus), initiator and co-convener of the session, also presented a paper.
Douglas Bomberger presented papers, "Hindemith, Stravinsky, and European Perceptions of Ragtime," at a conference entitled Jazz and the Germans in Columbia, Missouri in April; "Special Effects in the First Production of Der Freischütz " at the American Musicological Society's yearly National Convention in New York and "Rheinberger, Boulanger and the Art of Teaching Composition," at the College Music Society Convention in Portland Oregon, both in November. He also presented "The Emergence of New York as America's Musical Capital" at a Brown-Bag Colloquium at UHM in March and "The Pianist as Composer: Four Lectures on Beethoven, Liszt, Rachmaninoff, and Gershwin" at the Goshen College Piano Workshop in June.
Former UHM lecturer in voice Julianne Cross, soprano, performed a recital of works by Bolcom, Schubert, Strauss, and others at the Atherton Performing Arts Studio (KHPR) on June 16.
Arthur Harvey is a part-time lecturer at UHM for 1995-96; he is also Choir Director at First Presbyterian Church and Orchestra Teacher at Wilson Elementary School. During the past year while in Florida setting up a Center for the Advancement of Arts in Medicine, he also served as consultant for a forthcoming television series by Bill Moyers, Healing and the Arts, sponsored by the Fetzer Institute. Arthur had several articles and a chapter in a book on MusicMedicine published during 1995 and two articles accepted for publication in 1996.
The Inoue Ensemble, which commissioned Takeo Kudo's Music for Four, premiered the work May 1 at Lincoln Center in New York; the 111th Army Band commissioned Takeo's Pacific Fanfares, and premiered it on September 1 at the Waikiki Shell at a commemorative program - entitled "Hawai'i Remembers" - celebrating the close of World War II.
The International Journal of Korean Studies has published Byongwon Lee's "Social Characteristics of Korean Musical Culture" in its 1994 issue. Byongwon presented a conference paper, "Universality in Religious Musics," at the first meeting of the Asia-Pacific Society for Ethnomusicology in Seoul, November 1994. His New Grove Dictionary articles on Korean court music and folk music have been reprinted in Readings in World Music (Dubuque: Kendall/Hunt, 1995), edited by alumnus James Chopyak. Byongwon was elected president of the Association for Korean Music Research at its founding meeting in Los Angeles in October. He is also a music editor for China: Understanding its Past, a publication project of the Curriculum Research and Development Group at UHM.
Bichuan Li gave solo concerts and a lecture at New England Conservatory, Brandeis University, and at Lake Tahoe in August and September. She performed music by contemporary American and Chinese composers; she also included compositions by women composers and a Spanish group on her program - to an overwhelming response. Several of the pieces Bichuan performed were premieres at the sponsoring institutions.
Kaoru and Paul Lyddon have been invited to return to Oldenburg, Germany to perform another recital of piano music for four hands. Their December 17 concert will include four-hand compositions by Schubert, Mozart, Fauré, and Samuel Barber.
Neil McKay, Professor emeritus in the Music Department, has written two operas for youth, both commissioned by the Honolulu Youth Opera Chorus: Kahalaopuna, Princess of Manoa in 1994 and La`ie`ikawai, Princess of Palu-uli in 1995. Kahalaopuna was filmed on location on O`ahu for presentation on Public Television's Spectrum Hawai'i. Neil also composed The Deaf Men and the Diva for coloratura soprano and chamber ensemble, performed on the all-UHM composers' concert in October. The Larghetto from his Symphony No. 1 is available on the CD "Music for Quiet Listening" by Polygram. Neil gave a paper, "One Composer's Debt to Asian Music," in February at the Society of Composers meeting at the University of the Pacific in Stockton, California.
Jane Moulin's article, "What's Mine is Yours? Cultural Borrowing in a Pacific Context," appears in the January 1996 issue of Contemporary Pacific. She has also been commissioned to write the article on Marquesan music for the revised edition of The New Grove Dictionary.
In May, the Pearl City High School Band performed J. Mark Scearce's Canto IX for wind ensemble and nine percussionists. That same month Mark organized the first of two UHM Faculty Composer Concerts. On the first, flutist Sue McGinn and soprano Leda Asher Yager performed Mark's Bird by Bird for flute and soprano. On the second Composer Concert, given in October, Leda Asher Yager and several Hawai`i Symphony professionals performed his Shade of Orpheus. Internationally recognized poet Allen Mandelbaum wrote the libretto for the work, based on a new verse translation of The Metamorphoses of Ovid. Mandelbaum was in attendance at the performance. In November Mark resurrected the Contemporary Music Ensemble in a concert of six works that included his Nuance, commissioned last season for the New York Chamber Soloists. In December Mark was invited for a three-week residency at the Atlantic Center for the Arts in New Smyrna Beach, Florida.
During the first two weeks of June Ricardo D. Trimillos served as resource and consultant for the Brooklyn Academy of Music (BAM) and for the Asia Society, both in New York. BAM held its Festival 651, for which Ricardo made a presentation on musical instruments and wrote an essay on musics of the Asia and the Pacific for the Festival monograph. Former UHM faculty member Lewis Rowell was also a speaker. The following week Ricardo participated in the Asia Society's weeklong project on Asian-Americans in jazz, called "Crossovers." He was a principal project consultant and humanities scholar.
Donald Womack received a grant of $9,458 from the UHM Office of Research Administration for the purpose of recording Pentacle, a new work for orchestra. Support for the project included funds for Donald to travel to Poland to oversee the June recording session by the Silesian Philharmonic Orchestra in the city of Katowice. The CD is scheduled for release on the MMC label in 1996. Donald's Once the Sky Unfolds for viola and piano and Visceral for viola, bass clarinet/clarinet, contrabass, and marimba/percussion premiered in October and May respectively in Orvis Auditorium. Five of Donald's compositions were performed at Ward's Rafters in Honolulu in June: Three Psalms for soprano and piano; If You Love Beauty for mezzo-soprano and piano; Goulash for string sextet; Old Tricks for a New Dog for string sextet; and Nuages du Nord for two-channel electronic tape.
Lesley Wright presented a paper "Leoncavallo, La Bohème and the Parisian Press" at the conference Nazionalismo e cosmopolitanismo nell' opera tra '800 e '900 which took place 6-7 October in Locarno, Switzerland. Proceedings of the conference will be published in 1997. Lesley's article on the French composer Émile Paladilhe will appear in the revised edition of The New Grove Dictionary. Thirteen of her articles for the Dictionnaire de la musique en France au XIXe siècle, including texts on Bizet, his most important works, 19th-century librettists, and the Prix de Rome, are scheduled to appear at the end of 1995.
Byron Yasui's compositions have enjoyed numerous performances in the last few months. Touch Dance for solo harp and Piccola Arietta No. 1 for solo guitar were performed at the Ernst Bloch Composers' Symposium, 9-15 July, Newport Performing Arts Center, Orgeon. His Fantasy on a Hawaiian Lullabye for solo guitar was performed by Carlos Barbosa-Lima in a recital at Orvis Auditorium on 15 July. An earlier performance by Barbosa-Lima of that work in a Washington, D. C. concert hosted by Beverly Sills is to be aired nationally on National Public Radio. His River Children for B-flat clarinet, double bass, and harp was premiered at Orvis Auditorium on 30 October. His Concert Piece for trumpet quartet and Music for Timpani and Brass were performed at the Society of Composers, Inc., Region VII Conference at California State University-Turlock on 3 and 4 November. In September Byron received a Hawai`i Symphony commission to transcribe for orchestra his Four Kui Lee Themes, which he had originally arranged for concert band.
David Bandy (Mus Ed 1988) has published an article in German on the Royal Hawaiian Band in Clarion, the German national journal for wind ensembles. The article is based on his MA Thesis at UHM. David works for Universal Studios in Orlando, Florida as entertainment manager dealing with the Studio's events and celebrities.
David Gere (MA 1991) is teaching both dance and music courses for the World Arts and Cultures Department of UCLA. Virginia Gorlinski (MA 1989) completed the PhD in Music (Ethnomusicology) at the University of Wisconsin-Madison, and is a visiting assistant professor of music at the College of William and Mary.
Stephen Grauberger (MA 1994) is stationed at the Pike Pioneer Museum in Troy, Alabama and is researching traditional culture including African-American and white gospel musics in ten counties under a contract from the National Endowment for the Arts.
Nancy Guy (MA 1991), who was awarded an AMS 50 Fellowship by the American Musicological Society, is devoting the year to completing her dissertation on Peking Opera and Politics in Post-1949 Taiwan.
Etsuko Higa (MA 1976) has recently had published an article on uza-gaku instruments in the Journal of the Okinawa Prefectural Museum, a review in the Newsletter of the International Society for Ryukyuan Studies, and two more books of traditional Okinawan children's songs.
James Hubbard (BM 1992), a staff nurse at Queens Hospital in Honolulu, recently cut a pop demo recording with two friends; he sings and plays guitar and harmonica on the demo and composed some of the songs.
Andrew Killick is writing a series of articles on aspects of Korean culture for the in-flight magazine of Korean Airlanes.
Chang-yang Kuo (MA 1970) presented a paper on Buddhist chant in Taiwan at the meeting of the European Foundation for Research in Chinese Music in the Netherlands in September.
Riley Lee (MA 1986) discussed the shakuhachi in an Ethnomusicology Forum at UHM while in Honolulu to perform at the Honolulu Academy of Arts in September.
Bert Moon (MM 1979) lives in Hoboken, New Jersey; he has composed theater music in recent years and at present free-lances as a composer in the New York area.
Mode Records has published a CD of the Moscow Symphony Orchestra's performance of Milos Raickovich's (MM 1988) "New Classicism."
Takefusa Sasamori (MA 1969) has had two compositions - one composed for and performed by Lois Russell, UHM Lecturer in percussion - released on CDs, and two scholarly works published: "The Use of Music in the Ritual Practices of the Itako, a Japanese Shaman" in Shaman (Spring 1995) and "Study on Tsugaru i>Neputa: Readings of 'The Diary of Fundo-Station Firemen.' " He also chaired a session at the Annual Meeting of the Japanese Musicological Society.
Kalena Silva (MA 1982) has been appointed Master in Mele oli for the 1995 Folk Arts Apprenticeship Program of the State Foundation on Culture and the Arts.
Jennifer Stasack (MM 1992), who returned to Korea during the summer for further study of traditional Korean musics, teaches at Davidson College. Jennifer was commissioned by the Pittsburgh New Music Ensemble for a composition that she based on "Chonpae Huimum" of the Royal Ancestral Shrine Music repertory.
Amy Stillman (MA 1982) is completing a book on hula ku'i while on a University of California Presidents Fellowship in the Humanities for 1995-96. She presented a paper at the November meeting of the Hawaiian Historical Society; she serves on the Editorial Board of the Society's journal.
Min Wang (MA 1993) is researching guchuiyue, a traditional wind and percussion genre, throughout Shandong.
Kent State University Press has published a monograph by J. Lawrence Witzleben (MA 1983), "Silk & Bamboo" Music in Shanghai: The Jiangnan Sizhu Instrumental Ensemble Tradition.
Christine Yano (MA 1984) is a visiting assistant professor at Bowdoin College.
Media Press has published Renée Arakaki's Trinity for solo tuba; she received a commission for the Purple Moon Dance Project, a San Francisco-based Asian dance ensemble, to compose two pieces for its most r ecent program, Vessels, which debuted in San Francisco in June; it was also performed in Beijing, China at the International Women's Conference in August. Renée also won the composition area's prize for outstanding student work of the 1994-95 year for her Synapses for brass quintet and percussion.
The Association for Asian Studies has accepted a paper by Sandra Davis (MM 1991, currently a PhD student in musicology at UHM), "Gender and Culture in Madama Butterfly and Turandot " for presentation at its 1996 Annual Meeting to be held in Honolulu 11-14 April. Sandra is currently Director of School and College Services in the Office of Student Affairs at UHM.
Gregg Geary, PhD student in musicology and Music Librarian at Sinclair Library, will present a paper, "The Phonograph, 1890-1900: The Machine and the Decade that Changed the Course of Popular Music" at the Popular Culture Association Conference to be held in Honolulu 9-11 January 1996.
MA student Rachelle Habecker served as Professor Jane Moulin's project assistant last summer in Tahiti, then continued on to independent field work in the Austral Islands.
Robert E. (Bob) Brown, longtime music educator in the state of Washington, died at his home in Mt. Vernon on 17 March 1995. He was 81. Director of Bands at UHM from 1958 to 1960, Mr. Brown also directed school bands in Washington state from 1952 to 1958 and 1960 to 1972. He spent much of the 1930s and 1940s as a professional trumpet player performing with such well-known pop music figures as Stan Kenton, Skinny Ennis, Jack Teagarden and Red Nichols.
The 1995-96 recipients of the Ethnomusicology Fellowships for students from Asian-Pacific countries are Unjung Nam from Seoul National University and Xianghui Zhou from Beijing University (BU) - considered the most prestigious institutions academically in South Korea and China respectively. Unjung majored in musicology. She is interested in music cognition and plans to define the Korean musical scales in real-time performance for her thesis research. Xianghui earned his BA in English Literature from BU. His musical background includes many years of cello study at the Central Conservatory of Music in Beijing. The Ethnomusicology Fellowship covers a living allowance, books, and tuition.
In our last issue we noted that FM-AM News is now being printed in two colors to cut costs and that because of University-wide budget constraints, we might not be able to print FM-AM News this year. We asked your help, and an "angel" came through with a donation sufficient to put out this issue and another in the late spring. For this we are grateful. If you would like to make a contribution to insure that you will receive FM-AM News in the years ahead, please make your contribution payable to the UH Music Department Enrichment Fund, noting on your check that the money is to be used "For Music Department Activities." Checks made payable to FM-AM/UH Foundation go to support student scholarships, money that cannot be used for the printing of FM-AM News. We of course encourage readers to contribute to scholarships also - but remember that your check to FM-AM/UH Foundation will not aid FM-AM News.
We invite graduates and friends to send news of their activities for inclusion in FM-AM News. Your classmates may wonder what you are up to these days, just as you sometimes wonder what has happened to them. So please send items to:FM-AM Editor