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Marcus Belgrave Receives Benny Golson Jazz Master Award
In Memoriam
Bach to Basics for Michael Lynn

Marcus Belgrave Receives Benny Golson Jazz Master Award

Visiting Professor of Jazz Trumpet Marcus Belgrave received the 2002 Benny Golson Jazz Master Award from the Howard University Jazz Ensemble (HUJE) in a tribute held on the Howard campus November 21.

Belgrave was so honored, says Howard University Professor and Director of HUJE Fred Irby III, "because of his legendary work as an artist and because of his mentoring young musicians who have gone to become great artists." Con-gressman John Conyers Jr. of Michigan presented him with the award. Belgrave was a featured performer in several songs with the HUJE during the event.

A composer, arranger, recording artist, and producer, Belgrave first earned recognition at the age of 18, when his extensive collaborations with Ray Charles included a solo on "Alexander's Ragtime Band" on the album The Genius of Ray Charles. A versatile performer who plays avant-garde and traditional New Orleans jazz, blues, and ragtime, Belgrave has also performed with Max Roach, Ella Fitzgerald, Charles Mingus, Tony Bennett, Sammy Davis Jr., and Dizzy Gillespie.

A prominent recording musician with Motown Records, Belgrave is heard on many of the label's hits, including "Dancing in the Street," "The Way You Do the Things You Do," and "My Girl." Writer Allan Slutsky interviewed Belgrave for his book, Standing in the Shadows of Motown, the basis for Paul Justman's 2002 film of the same name. Belgrave appears in the film performing with the Funk Brothers, the previously unheralded Motown musicians - called "the soul behind the sound" - who are the subjects of the film.

He is an original member of the Lincoln Center Jazz Orchestra, and he has toured with the group since 1988. Among his recordings is the critically acclaimed Marcus Belgrave with Detroit's Jazz Piano Legacy (vol. 1) with Tommy Flanagan and Geri Allen.

Belgrave cofounded the jazz studies program at the Detroit Metro Arts Complex and also founded that city's Jazz Development Workshop. He was an original faculty member of the Oakland University jazz studies program.

Belgrave joined Oberlin's faculty in 2001 and since then has had "some great students," he says, noting that he emphasizes improvisation in his work with them. "What is surprising to me is the quality of their musicianship and their awareness of jazz," Belgrave says of his Oberlin students. "The desire to perform and play this music is uppermost in their minds."

Belgrave was profiled in the May 2002 issue of Jazztimes. -MJ

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In Memoriam

Dorothy DeLay '37, hon. '81, called by The New York Times "one of the world's most famous teachers of the violin," died March 24, 2002, at her home in Upper Nyack, N.Y. She was 84 years old. Among those she taught at the Juilliard School of Music are Sarah Chang, Nigel Kennedy, Midori, Shlomo Mintz, Itzhak Perlman, Nadja Salerno-Sonnenberg, and Gil Shaham. She conducted a master class at Oberlin in January 1982. She is survived by her husband, two children, and four grandchildren.

Leslie Roberts, a senior composition major whose original works had been performed at the Midwest Composers Symposium at Indiana University and at a festival for female composers at Meredith College, died May 9, 2002. She was 24 years old. She was a student of composition professors Randolph Coleman and Lewis Nielson; Nielson remembered her as "a very gentle person, very much liked by her peers in the program. She was very dedicated to the finding of her own compositional voice." She is survived by her parents, her brother, and her grandparents.

Professor of Violoncello Andor Toth Jr. '69 died September 24, 2002, following a long illness. He was 54 years old. Toth, who was also professor of chamber music, taught at the Oberlin Conservatory of Music for 30 years; he was a student of George Neikrug at Oberlin. He was influenced by the Central European traditions of the Hungarian Quartet, cellist Gábor Rejto, with whom Toth also studied, and - of course - his father, violinist Andor Toth Sr. In 1972, upon joining Oberlin's faculty, he and his father, together with violinist Richard Young and violist Denes Koromzay, formed the New Hungarian Quartet in residence at Oberlin. His mother, the soprano Louise Rose, also joined the Oberlin faculty that year as a voice teacher. Toth senior has also taught at Oberlin. In 1982, Toth formed the Oberlin Trio with Emeritus Professor of Pianoforte Joseph Schwartz and former violin faculty member Stephen Clapp.

Prior to joining Oberlin's faculty Toth taught at the San Francisco Conservatory of Music. He was a soloist with the Joffrey Ballet and the Houston Symphony; when he joined the San Francisco Symphony at the age of 20, he was their youngest member. He served frequently as an adjudicator for international competitions, including the 11th Tchaikovsky Competition. He is survived by his wife and his parents. A concert celebrating Toth's life and featuring students from his cello studio is planned for Thursday, April 24, at 8:30 p.m. in Kulas Recital Hall.

Willard Warch '31, Emeritus Professor of Music Theory and Composition, died October 12, 2002, at Kendal at Oberlin. He was 93 years old. A memorial service was held in October at Kendal. Warch, who earned both the B.Mus. and M.Mus. degrees at Oberlin, was a member of the Composition and Theory Department for 30 years. Before joining the Oberlin faculty, he was a schoolmaster at the Punahou School in Honolulu and played first cello with the Honolulu Symphony. During World War II he served in the U.S. Army Air Corps and was stationed in England as a member of the Army Air Corps Band. The author of five music study textbooks, he also wrote, in 1967, Our First 100 Years: A History of the Conservatory of Music. He is survived by his wife of 59 years and his daughter.

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Bach to Basics for Michael Lynn

Take a deep breath. Michael Lynn's title is a long one: Professor of Recorder and Baroque Flute,
Associate Dean for Facilities and Technology, and Curator of Musical Instruments. For brevity's sake he is known, in Oberlin's beloved shorthand, as "Dean of Stuff."

And what stuff this early music scholar's career is made of. He has taught at Oberlin for 26 years - "more than half my life," he says. In 1991 he helped found Apollo's Fire, the Cleveland Baroque Orchestra, and has performed with them ever since, garnering reviews such as this from The Washington Post: "Michael Lynn and Kathie Lynn [Teacher of Baroque Flute] displayed stunning artistry on recorder and flute, taking subtle advantage of the instruments' delicately contrasting timbres." He gives master classes throughout the United States, writes regularly for Flute Talk, and last year experienced two of the most satisfying premieres of his performing life - playing in the Royer opera [see Le Pouvoir de l'Amour Triumphant, p. 24] and the recently rediscovered St. Matthew Passion by Carl Philipp Emanuel Bach with the Bach and Baroque Ensemble at its first premiere in Pittsburgh (others took place last spring in Hamburg, at Harvard University, and in Houston).

Lynn says the chance to premier such works is an exciting privilege, but it is Emanuel Bach's St. Matthew Passion that resounds for him with a familial influence that is as personal as it is musicological.

Lost during World War II, Emanuel's score was found in 1999 in the Ukraine. Its significance as his last important vocal work led to its distinction as the first work to be published in the new C.P.E. Bach series issued under the auspices of the Packard Humanities Institute in Cambridge, Massachusetts.

According to Don Franklin, who directed the Pittsburgh performance in Heinz Chapel, the work is dated 1789, the year after Emanuel's death. Although Emanuel prepared the score, his widow supervised its performance. It was conceived and performed during a time when the Passion score of his father, Johann Sebastian Bach, was no longer known. The elder Bach's St. Matthew Passion was revived 40 years later by Mendelssohn at the Sing-Akademie in Berlin.

Like father, like son, it would seem. But the patrilineal similarities extend beyond the Bachs.

The Houston performance of St. Matthew Passion, with the Houston Bach Society, was conducted by Michael Lynn's father, Robert Lynn, who is the ensemble's director.

Any further coincidence was thwarted by the vagaries of a busy musician's schedule: Michael Lynn was unable to perform under his father's baton because he had previously booked concerts with Apollo's Fire, although the elder Lynn saw his son perform in Pittsburgh. -MJ

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Associate Professor of Music Theory Brian Alegant gave two presentations - "A Major Event(s)" and "Giving the Paper" - at the Society for Music Theory's November 2001 conference in Philadelphia. Alegant presented "Dallapiccola's Stylistic Evolution," a lecture and performance with mezzo-soprano Patricia Green, in March 2002 as part of the Dall Lecture Series at Michigan State University. Alegant also presented "Mirror, Mirror on the Wall," "It's about Time," and "What's Haydn Behind the Curtain?" at the 2002 Oberlin College Summer Piano Festival. He was pianist for Libby Larsen's The Settling Years with the Black River Singers and the Oberlin Contem- porary Music Ensemble in December 2001, and he performed continuo in the Black River Singers' presentation of Bach's St. John's Passion the following May. Alegant received a 2002 Perlik Scholar Grant to continue work with James Altieri '00 on an interactive, electronic platform for teaching music theory.

Teacher of Classical Guitar Stephen Aron chaired a panel at the national symposium of the American String Teachers' Association, held May 2002 in East Lansing, Mich. During spring and fall 2002 the Cleveland-based modern dance company Groundworks featured Aron in 12 northeast Ohio performances. Also in fall 2002 he gave a lecture and recital at the Guitar Foundation of America's international festival in Miami, and he launched an eight-concert, two-year series of Oberlin recitals featuring a complete survey of the guitar repertoire.

During his 2001-02 sabbatical, and with the support of a Powers travel grant, Associate Professor of Histori-cal Performance David Breitman traveled to England, France, Holland, Switzerland, and Austria, playing and recording historically significant pianos made from 1780 to 1860. He also visited schools that offered programs in historical performance or early music to learn about their curricula and build relationships between them and the Conservatory.

Conservatory Librarian Deborah Campana was elected to a three-year term as a member-at-large on the board of directors of the International Association of Music Libraries in April 2002. A few months earlier she gave a presentation on the renovation and expansion of the Conservatory library at the annual meeting of the Music Library Association, held in Las Vegas. Campana was also elected to the board of the American Music Center, a nonprofit organization based in New York City that includes 2,500 composers, artists, organizations, educators, and patrons dedicated to promoting the creation, performance, and general appreciation of contemporary American music. In August 2002 Campana delivered a paper, "Libraries in Music Teaching Institutions in the United States," at the annual conference of the International Association of Music Libraries in Berkeley, Calif.

In November 2001 Teacher of Flute and Chamber Music Kathleen Chastain served as a member of the Fulbright screening committee. In 2002 she presented master classes and a recital in Curitiba, Brazil; served as a jury member for the Juanita Miller Young Artists Competition in Dallas;presented master classes and recitals at Eastern Illinois and Idaho State universities; and gave a master class in Burgundy, France, which included students from Seoul, Korea. Chastain performed Tom Lopez's Espaces Pointillés, which she commissioned, for the Cleveland Composers' Guild in September 2002.

Teacher of Saxophone Paul Cohen's May 2002 performances included concerts with the Locrian Chamber Ensemble in New York City; premieres of new works by Akmal Parwez, Pauline Olivieros, and David MacDonald; a performance with Composers Concordance; and solo performances with Raritan Valley Winds. He gave summer series performances with the Goldman Band and also performed at Lincoln Center and Prospect Park. With the New Hudson Saxophone Quartet at the Museum of Fine Arts in Boston, he performed original 19th-century works on 19th-century Adolphe Sax saxophones, then compared the sound to the same works played on contemporary instruments. Cohen's article "The Secret Life of the Original Version of Dahl's Concerto for Alto Saxophone" was published in the Journal for the World Association for Symphonic Bands and Ensembles. His fall 2002 performances included recitals at Oberlin and Rutgers with organist Antonius Bittman, the East Coast premiere of Robert Aldridge's Sound Moves Blues at Montclair State University, a lecture and performance at the national Heckelphone Convention in New York City, and recitals with the New Hudson Saxophone Quartet at William Paterson University in September and C.W. Post College in October. Cohen was a guest lecturer and performer at the British Saxophone Convention in Cardiff, Wales, in October 2002. He joined Red {an orchestra}, a new Cleveland-based ensemble, at the Cleveland Museum of Art for performances of works by Weill, Bowles, Ravel, and Copland.

Professor of Music Theory Warren Darcy published an article, "Rota-tional Form, Teleological Genesis, and Fantasy Projection in the Slow Move-ment of Mahler's Sixth Symphony," in the Journal of 19th-Century Music. Darcy presented "Rotational Form and the Thematization of Failure in Mahler's Fish Sermon" at the annual meeting of Music Theory Midwest, held in St. Paul, Minn., in May 2002. These papers integrate new analytical methods developed by Darcy and James Hepokowski with traditional modes of analysis such as Schenkerian theory.

The English version of The Simple Flute, Professor of Flute Michel Debost's book, published in 2002, has been called "the most charming encyclopedia ever written" by The Flute Network, and "full of sensitivity and good sense . . . a delight to read," by Emmanuel Pahud, solo flutist with the Berlin Philhar-monic. In 2002 Debost attended festivals in Brazil and England and judged competitions in Texas and Portugal. In September 2002 he attended the Homage to Michel Debost Flute Festival, held in Lima, Peru.

During 2002 Professor of Piano Monique Duphil performed in solo recital and with orchestras and chamber ensembles in 30 concerts in the United States, Canada, Mexico, and South America.

Associate Professor of Music Education Joanne Erwin published an article, "Students are Number 1," in the August 2002 issue of American String Teacher. During summer 2002 Erwin conducted student orchestras at Capitol University for the Suzuki Institute and directed a chamber music week at the Conservatory for children ages 10 through 15.

Teacher of Double Bass Scott Haigh spent summer 2002 coaching chamber music at the Kent Blossom School and performing with the Cleveland Orchestra at the Blossom Music Center. He performed throughout the fall and winter at Severance Hall. In November he presented a double bass master class for 22 students at the Eastman School of Music.

Associate Professor of Music Education Jody Kerchner's article, "Keeping the Artistry: Modeling the Professional Life," was published in the Spring 2002 issue of the Journal of Music Teacher Education. Kerchner served as clinician for "Pass It On! Accessible Music Listening Strategies for Secon-dary General Music Students" at the Music Educators National Conference last April in Nashville, and she presented "Choral Music Methods" at the University of Connecticut (Storrs) in July. With the support of a 2002 Oberlin College H. H. Powers travel grant, she attended the International Society of Music Education Confer-ence in Bergen, Norway, in August, where she presented "Inviting Adolescents into the Singing Community." She performed with the Oberlin Choristers Youth Chorale in a tour of Reading, Pa., in March, and as an alto soloist in performances by the Black River Singers of Bach's St. John's Passion in May.

Professor of Music Education John Knight, a consulting editor for The Instrumentalist since 1990, had many articles, works of criticism, and editorials published in the magazine in 2001 and 2002, including "The Genius of Willem Mengelberg in a Classic Strauss Recording," "The Perils of Over Conducting," and "The Haunting Beauty of Tchaikovsky in the Hands of Herbert von Karajan." He reviewed Paavo Jarvi's conducting of Symphonie Fantastique with the Cincinnati Symphony and the Centennial Edition (1943-2000) recording of the Boston Symphony Orchestra; and his editorials included "Starting the Journey" and "Music of the Heart." In January 2002 Knight was a delegate to the curriculum conference of the Ohio Association of Private Colleges of Teacher Education at Malone College. In May he served as guest conductor and clinician at the Lake Erie Music Festival at Cleveland State University, and in June he received the Tri-M music award from the Oberlin High School band for his outstanding contributions to music education. Also in June, he served as a college advisor to the Ohio Music Education Association's adjudicated events committee.

Assistant Professor of Music Theory Rebecca Leydon served as co-editor, with Kimi Kärki and Henri Terho, of Looking Back, Looking Ahead: Proceedings of the 11th Biannual IASPM Conference, published in September 2002. The proceedings include papers presented at the meeting of the International Association for the Study of Popular Music in Turku, Finland, in July 2001. Other recently published articles by Leydon include "The Soft-Focus Sound: Reverb as a Gendered Attribute in Mid-century Mood Music" in Perspectives of New Music (vol. 39, no. 2) and "Debussy's Late Style and the Devices of Early Silent Cinema" in Music Theory Spectrum (vol. 23, no. 2).

Professor of Singing Daune Mahy was featured as soprano soloist in Mozart's Requiem, performed by the Trinity Cathedral Choir and Orchestra in Cleveland on September 11, 2002. Mahy directs the Oberlin in Italy program, held each June in Urbania, Italy; last year 50 students from throughout the United States were featured in concerts, opera scenes, chamber music, and Verdi's La Traviata in theaters in Urbania, Urbino, and St. Angelo in Vado. Joining Mahy on the faculty there were Professor of Singing Gerald Crawford and Associate Professor of Singing Lorraine Manz. In July Crawford and Mahy directed the annual Oberlin Vocal Academy for High School Students. Thirty-eight students from America and Turkey participated in private lessons, performance master classes, theory, aural skills, and special interest sessions. Additional faculty members included Jennifer Bertoni '92, Kris Johnson '98, and Assistant Music Director of Oberlin Opera Theater Alan Montgomery.

Professor of Violin Marilyn McDonald performed frequently throughout 2002. As a member of the Axelrod String Quartet and the Castle Trio, she appeared in concerts at the Smithsonian Institution in Washington, D.C.; Little Washington, Va.; and Santa Fe. With the Oberlin Baroque Ensemble she toured Georgia and Florida in February 2002 and presented master classes at Florida State University. McDonald also led the Boston Baroque Orchestra in Boston's Jordan Hall, the Opus 1 Orchestra in Orchestra Hall in Chicago, was concertmaster and soloist with the Peninsula Music Festival in Door County, Wis., and performed and taught at Oberlin's Baroque Perfor-mance Institute (BPI). Of her BPI performance, The Plain Dealer's Wilma Salisbury wrote: "Violinist Marilyn McDonald made the sparks fly in Leclair's Concerto in A minor, Op. 7, No. 5. Emphasizing contrasts of tempo and mood, she smoked the fast movements and cooled the elegant largo."

Assistant Professor of Musicology Charles McGuire presented a lecture, "How Does Your Druid Dance? Race, Religion, and the Pastoral in Elgar and Acworth's Caractacus," at the Surrey Elgar Conference in England in January 2002. He also presented "Elgar, the Cantata, and the Construction of British Musical Identity" at Trinity University in San Antonio, Texas, in May. McGuire's book, Elgar's Oratorios: The Creation of an Epic Narrative, was published by Ashgate in May.

Associate Professor of Historical Performance Catharina Meints performed with the Oberlin Baroque Ensemble (OBE) in February 2002 in Columbus, Ga., and Tallahassee, Fla. She also presented a joint master class with OBE members at Columbus State University, as well as solo master classes at Florida State University. In April Meints judged the collegiate division of the Cleveland Cello Society's annual competition for young cellists. A member of the Cleveland Orchestra since 1971, she presented eight classes to second graders at Rozelle Elemen-tary School in East Cleveland and at St. Stanislaus School in Cleveland
as part of the orchestra's Learning through Music program.

Professor of Singing Richard Miller's 2002 master classes - many of them intensive, week-long courses - included sessions at Massey University in Wellington, New Zealand, in January; the Glenn Gould Professional School at Toronto's Royal Conservatory of Music in March; Northern Arizona and Concordia universities in June; the National Convention of the National Association of Teachers of Singing in San Diego, and the University of Kansas in July. Miller directed the Institute of Voice Performance Peda-gogy in Oberlin in July and presented a two-week master class (his 24th) at the International Summer Academy at the Mozarteum in Salzburg, Austria, in August. He then gave master classes at the School of Music in Ljublana, Slovenia, and at the Gloriae Dei Artes Foundation in Orleans, Mass. Last April, Miller received the Special Recognition Award for Excellence in Teaching from the New York Singing Teachers Association (NYSTA). "We recognize Richard Miller as being a very special pedagogue in the world," says Thomas Cultice, chair of NYSTA'S symposium, during which Miller gave a master class.

Assistant Music Director of Oberlin Opera Theater Alan Montgomery received the Appreciation Award for Outstanding Deeds and Service from the Oberlin Negro Business and Professional Women's Clubs, Inc. (NBPWC) in March 2002. Montgomery has provided accompaniment for the Leontyne Price Competition, sponsored by the Oberlin NBPWC, for nearly 20 years. His reviews of the Oberlin production of Le Pouvoir de l'Amour, the Cleveland Opera's Le Nozze di Figaro and Rigoletto, and the Cleveland Orchestra's tribute concert for Christoph von Dohnanyi appeared in Opera News Online in 2002.

In fall 2001 Associate Professor of Music Theory Stephen Moore performed solo piano recitals at the University of Rhode Island, West Virginia University, and, in January 2002, in Olympia, Wash. He represented America's eurhythmics teachers at the National Conference of the Dalcroze Society in Minneapolis last June and served as a guest faculty mem- ber at Dalcroze Summer Institutes at Carnegie Mellon University and the University of Washington in Seattle.

Visiting Assistant Professor of Electronic and Computer Music John Morrison received an Individual Artist Fellowship from the Ohio Arts Council and was named to the council's roster of artists in residence. The Beachwood Middle School band commissioned Morrison's Brown Dog and premiered it in February 2002. Saxo-phonist Timothy McAllister, who had commissioned Morrison's Crows for alto saxophone and soprano on a text by Xue Di, premiered the work in April. During the summer of 2002, Morrison completed recordings in Minneapolis for an upcoming Innova release fronted by the Intergalactic Contemporary Ensemble and soprano Maria Jette.

Professor of Electronic and Computer Music Gary Lee Nelson, with his frequent collaborator and wife, painter and video artist Christine Gorbach, were special guest performers at the national meeting of the Society of Composers International, held in April 2002.

Oberlin's Collegium Musicum, under the direction of Professor of Musicology Steven Plank, presented a program of Tudor ceremonial music for the Latin Rite in April at Calvary Episcopal Church in Pittsburgh. The church's music director, Alan Lewis '85, invited the group. The program, which featured music from the early 16th-century English repertoire, was reprised in Oberlin.

Associate Professor of Trumpet Roy Poper, a former visiting assistant professor, was appointed to his current position in 2002. He is recording a compact disc featuring the music of Los Angeles composers, among them Halsey Stevens, Richard Halligan (formerly of Blood, Sweat, and Tears), Maria Newman, and Morton Lauridson. Associate Professor of Instrumental Accompanying James Howsmon also appears on the recording, which is scheduled for release this year.

Professor of Violoncello Peter Rejto performed throughout the United States in 2002 with the Los Angeles Piano Quartet and in South Carolina and Georgia with the Alma Ensemble. His summer festival performances in-cluded the Hampden-Sydney Chamber Music Festival in Virginia, the Colorado College Summer Music Festival, Vermont's Killington Music Festival, and Maine's Kneisel Hall Festival. He presented solo recitals at Grand Valley State College in Michigan and the Cleveland Institute of Music in February 2002 and at the Arts Ignite Festival in Winston-Salem, N.C., in October. Rejto serves regularly as artistic director of the annual Tucson Winter Chamber Music Festival in March.

Assistant Professor of Aural Skills Deborah Rifkin presented a paper, "An Associative Dance: Three Types of Motives in Prokofiev's Music" at the Music Theory Midwest Conference at the University of Minnesota in May. The paper advances a theory of motives in Prokofiev's music and raises issues about motivic transformation and analytical methodology.

Associate Professor of Music Theory Lynne Rogers presented "A Serial Passage of Diatonic Ancestry: What Stravinsky's Sketches Reveal about the 'Te Deum' from The Flood" at a Stravinsky symposium sponsored by the University of British Columbia Library and School of Music in Vancouver in April 2002.

Professor of Piano Sedmara Rutstein's 2002 performances include solo and chamber music recitals at the Academy of Music in Vancouver, British Columbia; at St. Petersburg Philharmonic Hall in Russia; and in Bethesda, Md. Rutstein was an instructor at the Oberlin in Cassalmaggiore (Italy) program in July, where she gave a master class and solo and chamber music recitals. She returned for a second time to St. Petersburg, Russia, participating in the International Festival of Conservatories, where she gave a master class and another solo recital. Compozitor Publishing House in St. Petersburg released Rutstein's compact disc recording, 24 Preludes and Fugues for Piano by Sergei Slonimsky.

At the 30th International Viola Congress in Seattle in June, Professor of Viola Peter Slowik received the American Viola Society's highest award, the Maurice Riley Viola Award, for "outstanding teaching, scholarship, and performance." There, Slowik performed Maurice Gardner's Tricinium for solo viola and played in the final gala concert. His master class in Seattle, "Techniques for Successful Orchestral Auditions," was reviewed by Stringendo, the journal of the Australian Strings Association, as "the master class that most clearly demonstrated a master mentor and profound pedagogue at work, combining a penetrating perception with an engaging and entertaining repartee." Slowik's Ohio activities included presenting at the Ohio Viola Society's Master Class
Day in November 2001, judging the Midwest Young Artists' Solo Com-petition, and conducting the Viola Super Sunday chamber music session for the Ohio Viola Society, funded by Chamber Music America, in January 2002. In August he performed chamber music concerts at the Musicorda Festival in South Hadley, Mass.; Mozart's Quintet K. 516 with the
St. Petersburg String Quartet; and Mendelssohn's Piano Quintet with Oberlin faculty colleagues.

Assistant Professor of Music Theory Diane Urista presented a paper, "What Performance Tells Us about Analysis," at the College Music Society's Great Lakes Chapter meeting in March 2002 at St. Olaf College in Northfield, Minn. She presented an expanded version of the paper at the Music Theory Society's New York State Conference at Barnard College in April.

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