It is with regret that UHM faculty members, students, and alumni bid farewell to three retiring faculty members, violinist LaVar Krantz, pianist Paul Lyddon, and music educator Anthony Palmer.
LaVar Krantz received his doctorate from Eastman in 1973. By that time he had already been at UHM for five years. While in the Army, he had studied violin with Raymond Vaught at the College of Puget Sound in Washington. In 1968, Vaught, then UHM Music Department chairman, hired LaVar to teach here. LaVar has taught applied violin and viola, conducting, and string methods, and he has directed both the University Symphony Orchestra and the Chamber Orchestra. He has played in the Honolulu Symphony since coming to Honolulu, acting at times as both concertmaster and assistant concertmaster and conducting the Symphony on several occasions. One season, LaVar notes, he and two of his daughters, Laurilyn and Rosalie, were all members the Honolulu Symphony. Laurilyn and Rosalie are UHM Music Department graduates; LaVar and Laurilyn are still members of the Symphony's violin section. They, along with Lavar's wife Marilyn, perform in a quartet called the Manoa Strings. LaVar has given numerous solo recitals at UHM and participated in many ensemble concerts. He says that the Music Department has been a pleasant place to work because relations among faculty members have been friendly and students rewarding to teach.
Paul Lyddon received his B. Mus. with Distinction in 1954 from the Eastman School of Music, Rochester, New York, with a major in theory and piano, and his M. M. from the University of Illinois in 1955 with honors in piano performance. He was a pianist with the United States Army Band and Chorus in Washington, D. C. 1956-59 and frequently performed at the White House. He came to UHM from the University of Wyoming, where he taught 1965-76. He has appeared as soloist with many orchestras, performing such works as Mozart's Piano Concerto K. 467, Tchaikovsky's Concerto No. 1, and Rachmaninoff's Concertos Nos. 2 and 3. He was also a professional accompanist, playing with such well-known artists as violinist Pinchas Zuckerman, lieder singer Uta Graf, and many others. He has given solo recitals in thirty states, in England, China, Germany, Austria, Japan, and the Philippines. In 1983 he formed a piano duo with his wife Kaoru Tajima. The pair are well-known both here and abroad both for their championing of neglected repertory (works for two pianos and piano duet) and their exquisite ensemble playing.
Anthony Palmer received both his B. A. with honor in Voice/Choral Music in 1958 in Music Education in 1958, and his M. A. in Music Education and Composition from California State University, Los Angeles in 1960, and his Ph. D. with distinction in Music with an emphasis in Music Education and Ethnomusicology from the University of California, Los Angeles, in 1975 for his doctoral dissertation, World Musics in Elementary and Secondary Music Education: A Critical Analysis. He received a Creative Artist Fellowship for study in Japan in 1983 from the Japan-United States Friendship Commission. Before coming to UHM in 1990, he was visiting Associate Professor of Music, University of California, Los Angeles. Before teaching at the university level, he had considerable experience teaching choral and general music in the public schools of California. He is a practical musician and composer as well as a scholar, having published numerous arrangments and original works for chorus. His articles have appeared in prominent music journals, displaying especially his interest in world musics, in the philosophy and aesthetics of music, and his knowledge of contemporary Japanese choral composers; he has also written a chapter on multiculturalism in Hawai'i for a book entitled Multicultural Hawai'i: The Fabric of a Multiethnic Society to be published soon by Garland Press.
Anthony helped revitalize the ACDA-Hawai'i High School Honor Choir, which was almost defunct when he arrived here. He auditioned students for the Choir by visiting some twenty-five schools on O'ahu his second and third years in Hawai'i. The group has grown steadily in numbers and quality each year and in 1998 numbered 147. It has become a mainstay of music education in the state. He served on the University Core Committee from 1991; he has also served on numerous other committees, both at the University and in the community, and is now on the board of the Hawai'i Arts Alliance for Education (HAAE).
Professor Robert Gunther comes to us from the University of Koln, where he had been teaching ethnomusicology for more than thirty-five years when he retired in 1994 as Professor Emeritus. While head of the Institute for Ethnomusicology at Koln, he built up the library and audiovisual archive with materials from East Asia, especially Japan, the largest such repository outside of that country. Trained as a musician at the highly reputed Academy of Music in Detmold, he continued his studies in the areas of musicology and ethnomusicology at the Universities of Munchen and Koln; he took his doctorate at Koln, became assistant lecturer, and after completing his Habilitation with a thesis on the vocal music of the Sudan and the Sahara, he was appointed associate and in 1970 full professor. He did field research in southern Europe, Africa, and Asia and has published many articles on the theory and method of ethnomusicology; the breadth of his research activity is astounding.
During the last 25 years Dr. Gunther has concentrated especially on the music of Japan. He is the editor of an important book series on the traditional music of Japan. He was one of the founders of the Japanese-German Culture-and Research Exchange Foundation and the recipient of a prestigious award by the Japanese government (Kun Santo Zuiho Sho, Order of the Holy Treasure, Golden Rays) for his efforts in the promotion of and research in Japanese traditional music. He is presently at work on two books: The Mystery of Sound; Ceremonial and Ritual Music of East Asia and Traditional Elements in Contemporary Music of Japan. During his year here he has taught two seminars--Theory and Methods in Ethnomusicology, Ceremonial and Ritual Music of East Asia--and a course for undergraduates on the music of Japan.
Visiting lecturer I Dewa Putu Berata taught and directed the Balinese portion of the Ramayana Dance Drama presented by the UHM Gamelan Ensemble at Leeward Community College on April 25 and 26. He is a composer, dancer, and teacher, and was born to a family of musicians and painters in the village of Pengosekan, Bali. He graduated with high honors from STSI Denpasar (Bali's national academy of arts). As a musician he has performed with the Indonesian government's cultural missions in the United States and Europe. He has served as visiting teacher and artist-in-residence at major universities in the United States.
Timi Taupua is also a visiting lecturer. He first came to UHM during the Summer of 1997 to teach an intensive 3-week course in Tahitian drumming. The class was so successful he was asked back for a longer period. He has been working with a group of 36 students, skillfully challenging them in both drumming and singing. Altogether, 72 students studied Tahitian music and dance at UHM during spring semester, 1998, including those in Taupua's classes and those in Jane Moulin's Tahitian Ensemble. The combined ensembles have performed for the KCC International Festival, the UHM-EWC Asian Pacific Fest, for OHA teachers, and for the Fiftieth Anniversary open house. Taupua has also given presentations at the Ethnomusicology Forum and elsewhere. He began drumming at the age of 13 with the professional group Patutoa. Since then he has performed with Tahiti's foremost traditional music and dance groups, including Iaora Tahiti, O Tahiti E, and others. He has also toured widely, performing on 'ukulele and drums all over the world. He is a much sought-after musician for recordings and competition groups in Tahiti. This summer he and Moulin are conducting a special intensive drumming study tour to Tahiti with a group of UHM students. While there, students will take lessons with Tahiti's top musicians, have the opportunity to visit workshops where instruments are made, attend rehearsals and performances for the Heiva celebrations, and observe Tahiti's professional groups in competition performances.
The ethnomusicology program of the UHM Music Department was well represented at the annual meeting of the Society for Ethnomusicology and affiliate meetings (the U. S. chapter of the International Association for the Study of Popular Music, and the Association for Research in Chinese Music) in Pittsburgh in October, 1997. Ten faculty members, alumni, and graduate students read papers. Faculty: Jane Moulin and Ricardo Trimillos; graduates: Andrew Killick (MA 1990), Rene Lysloff (MA 1982), R. Anderson Sutton (MA 1975), Kati Szego (MA 1987), J. Lawrence Witzleben (MA 1983), Christine Yano (MA 1984) and David Harnish (MA 1985); graduate students: Mi-hwa Min and Chao-Jung Wu. Sessions were chaired by Rene Lysloff (MA 1982), Ted Solis (MA 1970), R. Anderson Sutton, and Christine Yano. Also attending were Virginia Gorlinski (MA 1989), Nancy Guy (MA 1991), Stephen Slawek (MA 1978), Amy Stillman (MA 1982), Andrew Weintraub (MA 1990), and Professor emeritus Barbara Smith.
Three UHM alumni presented papers in a panel on popular musics at the annual meeting of the Association for Asian Studies in Washington, D. C. during March, 1998: Andrew Weintraub, J. Lawrence Witzleben, and ChristineYano. Dean of the School of Hawaiian, Asian and Pacific Studies (SHAPS) at UHM Ricardo Trimillos was a discussant.
The Asia Pacific Fest '98, sponsored by SHAPS and the East-West Center held on campus April 4, 1998 featured students of several UHM Music Department performance classes: Hawaiian hula led by Victoria Takamine and Noenoe Zuttermeister; Tahitian dance and drumming led by visiting artist-teacher Timi Taupua and Jane Moulin; Balinese dance and gamelan led by visiting artist-teacher I Dewa Putu Berata and Hardja Susilo. Graduate student and teacher of the Korean kayagum class Mi-wha Min performed a solo, accompanied on changgo by graduate student Myosin Kim. East-West Center coordinator for the event was Bill Feltz (MA 1970), who was in charge of arrangements for the two visiting groups: Yolngu Ancestral Performance and Arts from Australia and the Kathakali Kalakeli Troupe from India.
E. Douglas Bomberger contributed a chapter,"The Neues Scahspielhaus in Berlin and The Premiere of Carl Maria von Weber's Der Freischutz," to a book just published, Opera in Context (Amadeus Press). Douglas presented a paper entitled "Swapping Lies and Exchanging Bedfellows: The Case Against Music Study in Germany" at the annual conference of the Sonneck Society for American Music in Kansas City on February 22; his articles on 19th-century music have appeared in recent issues of Notes, Fontes Artis Musicae, and The Journal of Musicological Research.
Teresa Bomberger sang four songs by Donald Womack at the awards ceremony for the Hawai'i State Foundation on Culture and the Arts; she presented a recital in Orvis Auditorium in September, 1997 and sang the role of the Lady-in-Waiting in the Hawai'i Opera Theatre production of Macbeth; she also played Lady Macbeth in the 1998 Artist-in-Residence program. She was the soprano soloist for the world premiere of Allen Trubitt's Birds of Passage in April.
Dale Hall's article "Opera and Operetta in Nineteenth-Century Hawai'i" was published in the 1997 Hawaiian Journal of History. Annette Johannson received the award for "Teacher in Residence," one of the second annual Hawai'i Music Awards, "presented to a person whose dedication to music education through private instruction [exhibits] the highest goals and genuine concern for the well being of [his/her] students."
Annette Johansson's word-by-word translations of Thirty Wilhelm Stenhammar Songs with Swedish texts and international phonetic spellings will be published soon by Leyerle. A program at Carnegie Hall on November 8 by the Orpheus Chamber Orchestra featured the Swedish mezzo soprano Anne Sofie von Otter in songs by Stenhammar with Annette's translations in the program notes.
Takeo Kudo has been commissioned by the Honolulu Symphony Society to write a major work for orchestra and Japanese taiko to be performed in January, 1999. Kenny Endo will be the soloist.
Six of the seven recipients of an Individual Artist Fellowship from the Hawai'i State Foundation on Culture and the Arts were UHM music faculty members: Jay Kauka, Neil McKay, Mark Scearce, Allen Trubitt, Don Womack and Byron Yasui. The awardees each received a $5,000 grant and were honored by Governor Cayetano in a ceremony at the state capitol last July. Two public presentations of their work were then given on August 15 and 16, 1997 at the Art Academy Theater.
Several of Don Womack's compositions received their premieres this past year: O Magnum Mysterium (SATB choir) by the Hawai'i Vocal Arts Ensemble in December and Pearl by the Pearl City High School Band in May, 1997.
Jane Moulin's article, "Gods and Mortals: Understanding Traditional Function and Usage in Marquesan Musical Instruments," appeared in the 1997 issue of the Journal of the Polynesian Society. Other recent articles by her include "Tahitian Dance as a Story-Telling Art" in Interdisciplinary Efforts of Sport and Dance Philosophy and "Institutionalizing Tahitian Dance: The Move to the Classroom," appearing in the Proceedings of the 1997 Seoul International Sport Science Congress.
An article in May 1998 Honolulu is devoted to Nola Nahulu and her Hawai'i Youth Opera Chorus; the group had been invited to appear at a choral competition in Wales in 1997, a high honor, and has been invited again in 1998; Nola is attempting to raise money to finance the trip for her group.
Hardja Susilo was Co-director of the highly successful production of the Ramayana Dance Drama mounted on the Leeward Community College stage on April 25 and 26; four members of his family also participated in various ways in the production.
Lesley Wright will lecture in Paris in November at the centennial celebration of the Third Salle Favart on Georges Bizet and his contemporaries at the Opera comique. Lesley took over as Chair of the Music Department on January 1.
Byron Yasui received an ASCAP award in composition for 1997-98. He has been an annual recipient since 1985.
Bing Bu (MA 1996) was featured as a performer of erhu in an article in the Los Angeles Times in October 1997.
Bill Feltz (MA 1970) was East-West Center Project Director for a 3-week nationwide cultural exchange tour of Japanese Folk Music and Dance from Aomori, which began with a concert in the UHM Music Department and for which Takefusa Sasamori (MA 1969) was Artistic Director.
David Harnish's (MA 1985) "Music, Myth, and Liturgy at the Lingsar Temple Festival in Lombok, Indonesia" has been published in the Yearbook for Traditional Music, vol. 29. He chaired a session and presented a paper at the World Conference of the International Council of Traditional Music held in Nitra, Slovakia, in 1997.
Etsuko Higa (MA 1976) has completed her work as principal researcher for the 5-year government-sponsored research project on uzaguku, a music with Chinese roots of the Ryukyuan court. The final report, a major contribution to scholarship on Okinawan music, contains two articles by her. In January, she coordinated and served as lecturer for the performance delegation to the 4th Conference of the Asia-Pacific Society for Ethnomusicology in Taipei.
Gayathri Rajapur Kassebaum (MA 1975) taught two lecture courses in addition to Carnatic singing and gamelan in the University of Pittsburgh's Semester at Sea during Fall, 1997.
Andrew Killick's (MA 1990) doctoral dissertation, "The Invention of Traditional Korea Opera and the Problem of the Traditionesque: Ch'angguk and Its Relation to P'ansori Narratives," has been accepted by the University of Washington for award of the Ph. D.
Chang Yang Kuo (MA 1970) conducted the Woodpecker Singers of Taipei in Canada in 1997 in performances of Taiwanese folksongs at the International Choral Festival in St. John's, Newfoundland, and in concerts in Nova Scotia and Toronto. He is scheduled to lead the Stella Matutina Junior High Girl's Chorus in a performance of Taiwanese folksongs at the 23rd World Conference of the International Society for Music Education to be held in Pretoria, South Africa, in July, 1998. In September, he presented a paper, "The Melodic Traits of Taiwan Buddhist Chanting" at the 24th International Congress on Arts and Communications at Oxford University, UK. His piano composition, "Morning Scenes," was selected as the required piece for the 1997 Piano Competition in Taiwan.
Riley Lee (MA 1986) continues an active schedule of concertizing on the shakuhachi, both in solo and ensemble in Australia, Japan, and other countries, composing new music for the instrument and issuing recordings. He will be a featured artist at the conference on shakuhachi in Boulder, Colorado in summer 1998 and will perform in Honolulu en route.
Fredric Lieberman (MA 1965) was named a "cultural leader" in a list of 90 illustrious UH alumni in Malamalama. Rene T. A. Lysloff wrote an Afterword for Edward Herbst's book Voices in Bali: Energies and Perceptions in Vocal Music and Dance Theatre, published by the Wesleyan University Press.
Unjung Nam (MA 1997) holds a 3-year fellowship for doctoral studies at Stanford University. Moh. Anis Nor (MA 1982), head of the dance program at the National Arts Academy, Kuala Lumpur, Malaysia, and Chair of the Research Committee of the Asia/Pacific Chapter of the World Dance Alliance, presented a paper, "Tribal Dances of East Malaysia: Cultural Identities and Aesthetic Values," at the International Conference of the World Dance Alliance held in Hong Kong in August 1997.
Kimiko Ohtani (MA 1981), who recently accepted appointment in the Department of Education at Kochi National University, Kochi, Japan, is a member of the planning committee for the 35th World Conference of the International Council for Traditional Music to be held in Hiroshima, Japan, in 1999. Takefusa Sasamori has retired as Professor of Music at Hirosaki University. He continues to be active as a composer, pianist, and researcher of Japanese folk music. Two of his recent compositions, "Mizu no Nagare" (Murmur of a Brook) and "Arashi" (Storm), for Tsugaru shamisen, shakuhachi, and piano, were performed at the UHM Music Department and on the U.S. mainland during a tour of Japanese folk music and dance from Aomori.
Glenn (Kalena) Silva (MA 1982), Chair of the Hawaiian Studies Program at UH-Hilo, was active in planning and gaining acceptance for the master's degree in Hawaiian studies--the first such program in the world. Gary Smith (BEd Mus 1984) is married and has two children. With the USAF Reserve, he flies all over the world in the USAF C-5 cargo transport plane. His civilian occupation involves instructing others how to fly the C-5. He is also pursuing a Master of Music Education at the University of Massachusetts at Amherst.
Jenny Tong (BA 1993) is general manager of a wine shop in Hong Kong; she intends to move back soon to Macao, where she will continue in the wine business.
Roger Vetter (MA 1977) was a panelist in a session on ethnomusicology at liberal arts colleges at the Fall 1997 conference of the College Music Society. His review of Jaap Kunst's Indonesian Music and Dance...A Compilation of Articles (1934-1952) was published in Asian Music Fall/Winter 1997-98.
J. Lawrence Witzleben's (MA 1983) review of Harmony and Counterpoint: Ritual Music in Chinese Context edited by Bell Yung, Evelyn Rawski and Rubie Watson, has been published in the Yearbook for Traditional Music, vol. 29; his review of Musique de Taiwan by Hsu Tsang-houei and Cheng Shui-cheng has been published in Ethnomusicology, vol. 42.
Chao-Jung Wu (MA 1997) will teach the Chinese zheng at Wesleyan University while working toward the doctorate there. Christine Yano, who accepted an appointment as Assistant Professor of Anthropology at UHM beginning Fall, 1997, has signed a contract with Harvard University Press for a book entitled Tears of Longing: Nostalgia and the Nation in Japanese Popular Song, and is co-editing two books on popular musics, one based on papers presented at the 1997 SEM meeting. In April 1998 she also participated in a conference on advertising and media in Asia as part of the series of publications for ConsumAsian, with Curzon and UH Press.
Renee Arakaki was named one of three regional winners in the SCI (Society of Composers, Inc.) student composition competition. Her winning piece, Precipice for solo violin will be among works considered in the impending national competition at the SCI national conference in Bloomington, Indiana.
Quinn Kelsey and Jordan Shanahan won Morning Music Club awards during Spring, 1998. Highly competitive Arts and Humanities Advisory Council awards were given to Myosin Kim and Ken Lawrence.
Joshua Pilzer won grand prize in the 30th Korean Folk Arts Contest for Foreigners. He will read papers at the 1998 Conference of the Association for Asian Studies on the Pacific in Walla Walla, Washington and at the SEM Conference in Bloomington, Indiana.
Russell "Sango" Robertson will be presenting a lecture to the NAACP regarding the Resurrection of Celebration in the African-American Community; he also gave ten presentations for Black History Month during February. He has been teaching a few classes at the Youth Correctional facility near Castle Hospital as a part of a Drum Project Grant.
Akira Sasabe won the Dorothy Kahananui Gillett Prize for his arrangement of Charles King's Ku'u Leialoha, performed by the Hawaiian Chorus at its Spring Concert in late April.
In March the Debussy Trio, a well-known mainland ensemble of harp, flute, and viola, gave a concert in Orvis Auditorium. The Trio also held a reading session of music composed for it by UHM composition students. After spending forty minutes rehearsing Robert Wehrman's Valley of Afron, with the composer conducting, spokesperson Marsha Dickstein told Robert and the audience that the group would add the work to its repertoire, a splendid compliment to the composer.
Ju-Hua Wei was named recipient of the Diamond Head Theatre scholarship.
On the occasion of our 50th Anniversary as a Music Department, we have invited distinguished graduates of the Department to tell us about their careers. (We did not invite submissions for deceased alumni.) We recognize that a number of our graduates who teach at institutions of higher learning on O'ahu have made distinguished contributions to music education in Hawai'i and the world; we have not asked these for vitae since they are well-known to most of us who get FM-AM News in the Islands. They include present or former UHM Music Department faculty (Ruth Bingham, Thomas Bingham, Takeo Kudo, Bichuan Li, Richard Lum, Jane Freeman Moulin, Grant Okamura, Victoria Takamine, Ricardo Trimillos, Floyd Uchima and Byron Yasui) and graduates teaching at other O'ahu institutions, such as Sheryl Akaka, Lina Jeong Doo, Robert Engle, Peter Frary, Ruth Imperial Pfeiffer and Marilyn Liu Kim-Infiesto. Of those invited to submit vitae, the following responded:
Eunice Miyamoto DeMello, UHM: B. Ed. in Music. Master of Music at Northwestern University with a considerable postgraduate University background in Drama and Dance. A singer, teacher, and composer as well as a dancer and choreographer, she has been Minister of Music for many years at St. Clement's Episcopal Church in Honolulu and is well known as a voice teacher in Honolulu. She has performed as a mezzo-soprano both as an oratorio singer and in numerous opera productions in Honolulu. She has contributed much to the community: she serves as a member of the Advisory Council for the College of Arts and Sciences at UHM and chairs the Awards Committee; she also serves by appointment by the Governor of the State of Hawai'i as commissioner for the State Foundation on Culture and the Arts. She has also made extensive contributions donating her talents as writer, artistic director, and producer: she funded, for example, a Baldwin grand piano for the Mid-Pacific Institute's Performing Arts Center. Her advice to students: "Learning and creating never stops. They help you serve others in a real way."
Robert Owen Gjerdingen, UHM: M. A., 1980. Ph. D., University of Pennsylvania, 1984 in music history and theory. Taught music history in 1984 at University of Pennsylvania, Philadelphia, Pennsylvania; taught 1984-89 at Carleton College, Northfield, Minnesota, with 1987-88 at Harvard University, Cambridge, Massachusetts; became Associate Professor in 1990 at University of Michigan, Ann Arbor, Michigan; taught 1990-95 at SUNY at Stony Brook, Stony Brook, New York; since 1995 has taught at Northwestern University, Evanston, Illinois. Books published: Studies on the Origin of Harmonic Tonality [an English translation of Carl Dahlhaus's Untersuchungen bei die Entstehung der harmonischen Tonalitat] (Princeton, 1990) and A Classic Turn of Phrase: Music and the Psychology of Convention (Univ. of Pa. Press, 1988); numerous articles and book reviews in scholarly journals; book in progress, A Treatise Concerning Schemata Characteristic of 18th-Century European Court Music in the Galant Style. Advice to students: "Follow your heart."
Etsuko Higa, UHM: M. A., 1976. After graduation, she returned to Okinawa and worked as a part-time lecturer at Okinawa University, Ryukyu University, and Okinawa Christian Women's College. She has documented and studied regional folk and other traditional musics of Okinawa. Her studies have been published in Japanese in various ethnological and ethnomusicological journals. For several years she had a weekly radio broadcast, talking about and playing examples of folk music from particular areas of Okinawa. For several years she gathered, transcribed and published materials for a series of books of children's songs, each devoted to a different region of Okinawa. She has presented papers at numerous scholarly conferences at home and abroad, and lectured in colleges, conservatories, and universities throughout East Asia.
She has contributed an extensive article on the folksongs of Okinawa and the article on musical instruments to Ryukyu Geino Jiten (Encyclopedia of Ryukyuan Performing Arts) and produced a compact disc of old folk songs of one region. In 1993, she was appointed by the Okinawan prefectural government as the principal researcher for a 5-year project to restore uzagaku, the Chinese music performed at the court of the Ryukyuan Kingdom, which had died out. The project was successful in identifying the genre and a group of musicians in rural China that still performs with some of the same texts as those in the uzagaku repertoire.
Etsuko has been a member of many official government delegations to Hawai'i and the U. S. mainland, Taiwan, Japan, and the Peoples Republic of China. Her effectiveness in international/intercultural relations, together with her abilities in organization, led to her appointment as Director of the Okinawa Convention Center in 1996.
Allan Ho, UHM: M. A. Musicology, 1980. Ph. D. Musicology, University of Kentucky, 1985. At present full professor on the faculty of Southern Illinois University at Edwardsville, Illinois. His research interests include the music of Liszt, the piano concerto genre, and Russian/Soviet composers. Publications include a book, Shostakovich Reconsidered (1998), and with Dmitry Feofanov, Biographical Dictionary of Russian/Soviet Composers (1989); has also published numerous articles. He advises students "to cherish the beauty and other benefits Hawai'i offers, but be willing to resettle in the mainland or elsewhere to pursue professional or other goals."
Shigeru Hotoke, UHM: B. Ed., 1951, Professional Diploma. Already first bugler for Ele'ele School on Kaua'i during his years as an elementary school student, he became a member of the Special Services division of the U. S. Army after high school and led a dance band in California. After the war, he registered at UH under the GI Bill, majoring at first in physical education and playing French horn in the UH Band. During his sophomore year Richard Vine joined the UH music staff and Shigeru, who had always loved to sing, signed up for voice lessons; soon he changed his major to music education. Vine formed the Go For Broke Opera Company with Shigeru and other voice students; its productions at the Armed Services YMCA in the early 1950s were the forerunners of Hawai'i Opera Theatre's first productions. Shigeru also sang throughout the country as a soloist in the prestigious Robert Shaw Chorale.
As a young teacher, Shigeru instituted the choral program at Kailua High School. Later, as many as 500 students signed up for chorus. He persuaded the Board of Education to let him take his chorus on tours of the other Hawaiian Islands. Later he founded the Kailua Madrigal Singers and took them to California, Canada, Europe, and eventually around the world; he and his group circumnavigated the globe at least ten times and traveled to other parts of the world for over 20 years. Now retired, he continues to share his talents as director of the Gleemen Plus of Honolulu. He has been the recipient of many honors, among which are Hawai'i State and Western Division Teacher of the Year Award and the Bicentennial award of the National Education Association. He was recognized as a distinguished alumnus at the UH 75th Anniversary celebration. He advises students to "have a vision. Follow your instincts, strive for the ultimate, continue to try, to learn. Study with the best, perform with the best. Don't be afraid of making mistakes; learn from them, and learn by doing!"
Dennis Kam is Chair of the Music and Composition Department at the University of Miami. Widely performed and nationally recognized, he has been a member of both the Executive and National Councils of the Society of Composers, Inc. (SCI). He was educated at Oberlin Conservatory of Music, the Mozarteum in Austria, the East-West Center at UH, Toho Gakuen in Japan, and the University of Illinois. His teachers have included Joseph Wood, Cesar Bresgen, Armand Russell, Ernst Krenek, Yoshiro Irino, and Salvatore Martirano. During 1970-72 he was Composer-In-Residence for Honolulu and the State of Hawai'i through the Ford Foundation/MENC Contemporary Music Project. As a conductor, he directs The Other Music Ensemble (a group for the performance of new music) at the University of Miami. During the last decade, his works have dealt with varied approaches to "psychological time," modes of perception, context, and continuity. His recent concerns include meaning, association, and implication in music. He advises students to "be prepared to do more than one thing in music--or in life, for that matter. The field of theory/composition changes rapidly, producing different needs."
Elmo Q. Makil UHM: M. M., 1970. Taught at Silliman University in Central Philippines, where he had studied as an undergraduate under William R. Pfeiffer, whose tenure as professor at UHM in the 1960s and early 70s brought him here. In the mid-1970s he moved to Manila to teach at the College of Music, University of the Philippines, where he is now chair of the Voice Department. He has been active in the Manila concert scene, performing as Tonio in I Pagliacci, as Marcello in La Boheme, as Valentin in Faust, in the title role of Rigoletto, and in operas by Filipino composers Feliciano (La loba negra) and F. P. de Leon (Noli me tangere). He has also performed in oratorios and cantatas, Broadway musicals, and the world premiere of Jerry Dadap's Andres Bonifacio, based on the life of a Filipino patriot. He has also performed in the Filipino zarzuela Minda Mora, taken on national tour in 1978 and ASEAN tour in 1981, and recently in the Rirl Ken Tiri, sung in Ilokano and performed since 1995 in Manila and the northern provinces.
He has conducted various church choirs, choral groups, workshops, and seminars for teachers and choral conductors in the provinces and in metropolitan Manila. Teaching, singing, choral conducting, and community outreach have filled his life, challenged him, and brought him professional fulfillment. He advises students today to "learn and experience all they can from the school's varied programs...students should identify teachers from whom they can learn the most, who take an interest in their students and are willing to share what they know. Students should be ready to innovate and adjust to the realities of the society and culture they will be returning to after they graduate. There they will have to work hard at their craft if they wish to be successful."
Brian Masuda, UHM: B. M. Piano, 1975. Master of Music at Manhattan School of Music, 1977. He was on the faculty of the Boston Conservatory of Music 1977-81 and at New England Conservatory of Music 1980-81 as a vocal coach for opera classes. He was also engaged by various opera theaters in the U. S. In 1982 he was contracted by Staatstheater Darmstadt and also engaged as coach and pianist for theaters in Heidelberg and Saarbrucken 1982-85. He was engaged as musical coach of Netherlands Opera 1985-95. He has prepared productions for the Holland Festival and Dutch radio and served on the faculty of the Royal Conservatory of Music in The Hague. He advises students: "Cherish the experience and the training you acquire while attending UHM."
Warren Mok, UHM: B. M. in Voice, 1983. M. M., Manhattan School of Music, 1986. Warren has had an impressive international career, singing in such far-flung locationsas Germany, Latvia, Hong Kong, and Shanghai. He sang the role of Tonio in the 1996 Hawai'i Opera Theatre (HOT) production of A Daughter of the Regiment and Macduff in the HOT production of Verdi's Macbeth. Debut followed by seven-year stint at the Deutsche Oper in Berlin. In the early 1990s he performed in Prague and at Schwerin and Leipzig in what was then East Germany. Today he lives in Hong Kong and in recent years has even moved into a new area, opera production, producing operas in Shanghai. Recently he sang leading roles in three operas in Riga, Latvia--Don Jose in Carmen, Calaf in Turandot, and Radames in Aida; among future plans are a Verdi Requiem in Hong Kong, a role in Giordano's Il re in Martina Franca, Italy, and a role in Verdi's Don Carlos, again in Riga. Next fall he will perform in Un ballo in Maschera in Germany and in Mahler's Das Lied von der Erde in Berlin. He advises students that learning foreign languages, especially Italian, French, and German, have been important for his career. He has sung recitals of French and German songs in Hong Kong. His favorite singing roles have been written by Puccini and Verdi; he he mentioned especially Rodolfo in La Boheme. Two compact discs of his singing are available on the Hugo label, one of operatic arias, the other of Chinese songs, both folk and modern pieces.
Helen R. Nagtalon-Miller, UHM: M. A. Diplome from Sorbonne, Paris, France; Ph. D. from The Ohio State University. Taught in public secondary schools of Hawai'i 1951-63 and at UHM 1963-92; taught piano privately 1951-93. Also taught music and/or English and French at UHM and Hawai'i intermediate and secondary schools. Supervised student teachers in College of Education at UHM, taught French with what was then the European Languages Department, was a specialist at the School of Social Work, Office of Student Services, and the School of Public Health.
She has been an active community advocate in the areas of human and civil rights, the education of language minority students, and an effective arts and humanities education. She is the recipient of four awards: a "Woman of Distinction" award given by the Honolulu County Committee on the Status of Women on October 12, 1982, the 1985 National Education Association "Award for Leadership in Asian and Pacific Island Affairs" in Washington, D. C. on July 1, 1985, the 1986 Alan F. Saunders award by the American Civil Liberties Union of Hawai'i, and a University of Hawai'i Distinguished Alumni Award on May 12, 1994. She advises students to "look upon the education you have worked for as a means to enter an occupation that interests you, one to which you can contribute and in which you can succeed. Keep your mind open for new opportunities and new ideas...The qualities you bring to your life work can also allow you to make significant contributions to the life and welfare of your community. In the end, these can be the most important achievements in your life."
Amy K. Stillman, UHM: M. A. Ethnomusicology, 1982. Ph. D. Harvard, 1991. At present Assistant Professor at the University of California at Santa Barbara; will be Associate Professor of Music (Ethnomusicology) at the University of Michigan beginning in Fall, 1998. Entered UHM in 1974 as a freshman with the intent of becoming a high school band director; switched to composition, and finally to Hawaiian Studies and ethnomusicology. Publications: Sacred Hula: The Historical Hula 'Ala'apapa. Has also written numerous articles on Hawaiian music. She advises students "to remember always that the world is your horizon and that you can go anywhere and do anything you want. The education I received at UHM has taken me far, worlds away from anything I could imagine as a freshman in 1974. It could happen to you; it's up to you to make it happen."
Leslie "Buz" Tennent, UHM: B. M., 1977, M. M., Manhattan School of Music, 1982. Internationally recognized as a versatile performing artist, equally at home in opera, oratorio, concerts, recitals, and musical theater. Highlights of his varied career as a baritone include a debut with the New York City Opera as Marcello in La Boheme, Gerard in Andrea Chenier with the Santa Fe Opera, Curley in Oklahoma! with the Alaska Light Opera Theatre, and more recently De Beque on the U. S. and Canadian tour of South Pacific. Following his 1990 European concert debut in Bremen, Germany as soloist in Carmina Burana, Buz became principal baritone with Stadttheater Hildesheim, performing such diverse roles as Stankar in Stiffelio, Don Carlos in La Forza, the Count in Nozze di Figaro, and Moses in Mahagonny. His most recent appearance in Hawai'i was as soloist in Handel's Messiah with the Oahu Choral Society and the Honolulu Symphony. Advice to students: "The distinguished reputation of the UHM Music Department notwithstanding, I would still encourage current graduates, particularly aspiring professional singers, to consider going to the mainland for a while to avail themselves of the more extensive educational and performance opportunities there."
J. Lawrence Witzleben, UHM: M. A., 1983. At present Associate Professor at the Chinese University of Hong Kong. His fields of study and research include Chinese and Indonesian music. He did postgraduate study in Chinese Music Theory and Performance at the Shanghai Conservatory of Music; Ph. D., University of Pittsburgh, 1987. In 1996 received the Society of Ethnomusicology's prestigious Alan Merriam Prize for the "most distinguished published English-language monograph in the field of ethnomusicology" for his highly praised monograph "Silk and Bamboo" Music in Shanghai: The Jiangnan Sizhu Instrumental Ensemble Tradition (Kent, Ohio, 1996); he has also published numerous articles and book reviews in professional journals and other publications; has also presented many papers at conferences in Asia, the United States, and Europe. He has received numerous fellowships and grants.
The Music Department has celebrated the fiftieth anniversary of its establishment with two concerts and an open house. The first concert was devoted to Hawaiian music, dance and chant. On March 7, Noenoelani Zuttermeister and Victoria Holt Takamine presented their Hula and Chant classes, Nola Nahulu the Hawaiian Chorus, and Jay Kauka the Hawaiian Ensemble in performances in Orvis Auditorium. Then, on April 27, the University Orchestra and Choruses presented a concert at Blaisdell Concert Hall featuring a work of Professor emeritus Allen Trubitt, Birds of Passage for chorus and orchestra on a text by Henry W. Longfellow, and dedicated to Arthur and Mae Zenke Orvis. Directed by Henry Miyamura and Timothy Carney, the work featured soloists Teresa Bomberger, Annette Johansson, Laurence Paxton, Timothy Carney, and John Mount.
The open house, held April 5, began with a luncheon for donors and continued with activities during the afternoon that showcased the talents of its composers and scholars and the great variety of its performing forces. Faculty and student soloists presented a great variety of performances of Western music in Orvis Auditorium and Room 36. Current and emeritus composers presented tapes and scores of their own works and student compositions in Room 7, and the musicology faculty a display of its publications in Room 9.
The Gamelan Courtyard was the site of performances by the U. H. Band, the U. H. Jazz Ensemble, the Saxophone Choir, the U. H. Gamelan, and Tahitian drumming and dance, directed respectively by Grant Okamura, Pat Hennessey, Todd Yukumoto, T. Taupua and Jane Moulin, and Hardja Susilo. The Bamboo Courtyard was the site of performances by Joshua Akana, slack key artist, three Asian groups held forth in Room 116, the Okinawan Koto and Gagaku Ensembles, directed respectively by Harry Nakasone, Bernice Hirai, and Rev. Masatoshi Shamoto. One of the most popular features of the open house was an exhibition of photos and clippings in Room 9 that illustrated the history of the Music Department.
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