Mentors by Kim Archer


David Maslanka in his home studio

Most of us became musicians because someone mentored us. It’s not easy to guide a young musician, but that’s why our mentors are special, why they inspire us. They care for us and they know us — and because of that, we flourish.

When I was first-year doctoral student, composer David Maslanka visited UT-Austin. He was already famous — I’d already been taught how he revolutionized the concert band world forever with his Symphony no. 2. He was alive, in person, on my campus! I couldn’t wait to meet the guy whose music left me exhausted and joyful, tearful and energized at the same time.

To my surprise and dismay, he turned out to be Weird, capital W, even compared to most composers. He mumbled about his dreams, about meditating and having conversations with creatures there, about reaching into a space beyond oneself that I simply wasn’t prepared to accept. He had such a strict diet it was impossible to find restaurants for him. He rambled at the microphone before his performances. Still, I offered to drive him back to the airport to have time alone with him, to get another measure of him.

There, gripping the steering wheel in the silence, I finally blurted out, “Dr. Maslanka, I love your music and I heard every word you said while you’ve been here but I think you’re full of <bleep>.” (I didn’t say “bleep.”) Looking back now, I can’t believe I did that. David just smiled and asked, “What don’t you believe?” Those 40 minutes flew by. We shook hands at the airport and he said, “You’re going to call me someday. You’ll know when and here’s my number.” I drove home thinking he was a nice enough guy but no way would I ever call him.


Kim and David at a rehearsal

Then my best friend was killed in a car accident and I found myself writing a symphony. I was overwhelmed by rage and grief, unable to handle by myself the new kind of music that was pouring out, frightened at how different the whole world felt with the loss of my friend, and even within myself. Who could I talk about this with who would understand?

I called David … and a mentorship of almost two decades began.

I didn’t always like that mentorship. When I went through a phase of writing commercial music for a publisher, David told me to either honor my musical power or not waste his time anymore. He told me once that if I wouldn’t name myself as “composer” first, rather than “teacher,” then I ought to accept that my contribution to music will be grading 4-part chorales. I loved David’s frank sarcasm when it wasn’t aimed at me, but he could really sting me about blunders in craft that sure, I should’ve known better than to commit, but had succumbed to out of impatience. Which he knew and wouldn’t tolerate. I asked him once how he could stand that I’d make progress with his help but then screw it up, make progress again then screw it up — never a straight line of development. He smiled with that mischievous glint and asked me to name one person I’d ever known who developed in a straight line. I told him once that he saved me; he responded, “You’re worth saving.”

With David as my mentor, I became aware of bigger pictures, of the universal and cyclical nature of things, from composing to politics to life and relationships. I didn’t believe everything he professed, but some of it started to seem possible. Over the years, David and I corresponded sometimes weekly about doubt, complacency, and fatigue, which are normal but must be faced and overcome. We talked about passion and energy, about connecting with like-minded people and working in solidarity to change the music world, the education world, or any part of the world for the better. He encouraged my skeptical attempts at meditation and both interpreted and praised the results. He shared his love of history and drew me in. I tried to interest him in science fiction but gave up after his comments like “glacial.” We never discussed anything so concrete as harmony or counterpoint, but my sharing a sketch and asking for feedback resulted in the most intense musical discussions of my life, spanning craft and heart equally. We attended performances of each others’ music. He stayed with me in Edwardsville a few times. We took innumerable walks together and cooked good food. I have never laughed so hard, or felt so vulnerable and safe at the same time. I loved David and he loved me. I occasionally beat him at Scrabble.

Earlier in the summer, David told me he was ill but felt certain it was not the end and he had more music to write. He responded with pride about a new, non-musical role I recently adopted and told him about. I was afraid he’d criticize another distraction from composing; instead, he reached back almost twenty years to analyze how inevitable and perfect a step it was, that I had finally learned to face fear and anxiety, and he mused that when this personal power someday combined with my musical power the world will be amazed. This, while he surely knew that his wife was going to pass away soon and that he was far more than just “ill.” He never let on.


Kim and David walking on trails in Missoula, MT

When David died earlier this month, just a few weeks after his wife, I suspect he went peacefully and with acceptance. For me the grief is still fresh. He often likened me to Luke Skywalker (with his “laser sword”), so it’s fitting to point out that like Obi-Wan Kenobi, he remains all around me, in everyone he mentored and in all the lives he touched. His music is part of my music. His power, his surety in the world, his hope, his sarcasm and humor, is now part of my power. He gave it to me in every thought, every kind word, every hug, every mischievous glint, and yes, every stern admonishment. He was my mentor and I am better for him. That’s what mentors do.

In a matter of hours I will stand in front of a new class on their first day as music majors. For some of them, maybe I will be a mentor. Regardless, I bring them myself and David, and that makes me less sad. These new students very well might start out thinking I’m full of <bleep>, too, and that’s okay. That’s how the cycle works. I will smile and be there for anyone who calls.


Faculty Insights: “I Wish You Would Compose” by Kim Archer


Dr. David Maslanka, Dr. Kim Archer, and Dr. Chris Werner at the world premiere of Symphony no. 3 (Central High School – La Crosse, WI)

I was 32 in 2005, when I started as an Assistant Professor at SIUE. I was so fatigued from the process of finishing a doctorate, hopping across two temp jobs, and finally starting the tenure track that I couldn’t compose anymore and thought I might be washed up. Frustrated and impatient to have the whole rest of my life resolved as soon as possible, I called a mentor composer – David Maslanka – for a diagnosis. David chuckled good-naturedly and invited me to spend a week’s retreat at his home in Montana. He said I needed rest.

David had a bigger plan than that, though: he also invited a young conductor who had just finished his first year in a new job in Wisconsin, and was equally fatigued and frustrated: Chris Werner.

We both needed David, but we needed each other more. Chris and I bonded over sneaking away for coffee (not allowed at David’s house) and dissecting episodes of Star Trek and Battlestar Galactica. We suffered devastating Scrabble losses to David. Mostly, we lamented the deteriorating state of our shared profession – the wind ensemble and its repertoire. David suggested we try collaborating.

The next year Chris commissioned my Symphony no. 3. By doing this, he held open a space for me to fully and freely create. I, in turn, delivered a worthy conducting challenge for him: a 30-minute monster, requiring all manner of special equipment and color instruments, alternately laughing and roaring from the page. I spent two weeks in residence with Chris and his high school band, where both of us chafed at our colleagues’ certainty that it was impossible for high schoolers to negotiate such lengthy and difficult music, that neither of us had the skill or maturity to undertake such a project, and that we were hotheaded youngsters who would soon know better, if only by failing.

Not one chance, we decided. After all, there was nothing magic about demanding the best of yourself and being brave enough to expect it of others. Chris was a force of nature – a black hole whose sheer gravitational force dragged out every ounce of effort and musicianship from his band. He railed and shouted and sweated buckets from the podium, practically calling down the lightning, as if he could elicit their sound from his own body. He stormed and praised in equal intensity. He scared me, even! We spent our off-hours half in an exhausted stupor, and half barely speaking to each other. Often, a rage simmered between us. It took me a long time to realize this was a rage he’d assimilated from the music, which he was living in himself so he could conduct it and shape it. He was terrifying. He was amazing. It was a mad dash from the day I arrived to the final ringing note of the premiere, all hot with electricity. Chris swears he remembers nothing from that night, but I remember every second. That symphony wasn’t as much a “birth,” as Chris always called a premiere performance of new music, but more of a nuclear blast!

For years after that, we sat in coffee shops sketching the book we were going to write. We’d experienced – more like survived – something incredible and it had to be shared. Over those years and our work together, Chris developed a new model for building a band program in high schools, for training student teachers, and for bringing an entire school district into sync for fostering true, independent artistry. Kids can do so much more than most educators think, he insisted, and some of this plan hinged on the collaboration between a conductor and composer. So we were just going to write a book, just like that, because doing the right thing is so simple if you are fearless and willing to work hard. Obviously, all that was missing in the world was somebody’s saying that. We used to look up at each other from over our laptops – excitedly mapping out a table of contents, a paragraph here or there – to promise each other that we would never become complacent like the ranks ahead of us. We swore we would always push each other to the next big thing. We’d be 70 years old together, retired, and still showing the world how it’s done.

The problem was I couldn’t call down the lightning at will, the way Chris could. I have always struggled with insecurity and writer’s block. Then, Chris was there urging me on – you have this, you’ve done it before, it’s there, keep going, creativity is messy. I was in Chris’s gravitational pull and there was no escaping it. Next came a piano concerto. Then a symphony. Then a song cycle. It was painful and terrifying; it was slow, messy work; it always will be. But how could I give less to my art than Chris gave to his, or believe in myself less than he did?

Somewhere around 2012, we both began to discuss perhaps leaving education and maybe leaving music, too. We were both tired again, both burned out. Up in Wisconsin, Chris felt isolated. Conducting didn’t always feel fun or challenging anymore. He wondered if he’d rather become an administrator. I suggested he try to rejuvenate his creativity by feeding his other interests, like cooking or playing the clarinet. Down here in Illinois, I understood exactly what he felt. Composing is difficult. It was easier to talk with him about dumb meetings and academic politics.

We stopped being crusaders and became middle aged and complacent. It was so gradual we didn’t even notice.


13442496_10101504177757888_196651960539315342_oOn the Saturday after Thanksgiving, I sat at Chris’s bedside. The cancer took most of his digestive system a year ago. It had invaded his liver and brain. We had college football on TV, as was always our habit together, but I almost couldn’t recognize the man next to me. This wasn’t the same vibrant, energetic guy who helped paint my house a few summers ago, who trekked through Scotland with me, or who used to invent gourmet meals when we’d visit. I almost couldn’t recognize him – but there were still his eyes. They were the same.

“What about our book?” I asked.

“It’s percolating in your brain now,” he replied.

“Are you scared? Do you know what’s going to happen?”

“No, I don’t know. I think I’ll just go to sleep and that’s it. But I’m not scared. I’ve had a long time to get used to this idea.”

A long pause. “Did you have a good life?”

“I think I made a difference. Yes. I like to think I did good things.”

We were quiet for a while, watching Nebraska lose to Iowa. I thought about his many student teachers who’d gone on to careers in music and about a restaurant he used to love called “Diggers” where we’d talk for hours about new band music.

Finally, I asked, “Give me advice, Chris. What do I do now, without you?”

A small smile. “Have patience. Make other people feel heard, even when you know you’re right. I should have done that more. Be patient about your music, about life. Things will come, but only when it’s time. You have to be patient.”

He started to fade into sleep, but mumbled, “Compose. I wish you would just compose.”

Then, asleep, he began conducting. I couldn’t believe that’s what I was seeing, but I know his gestures so well: the pointing cue, the curl of his fingers, the interplay of his hands. He was humming a faint note now and then, his emaciated face rising and falling with dream music. I don’t know how long that went on, but I was stunned, devastated, fascinated … and most of all, grateful to have witnessed something important even though I didn’t understand.

He surfaced for a moment and looked surprised, as if I’d caught him talking to himself.

“Was it good music?” I asked. “The Chicago Symphony?”

He shrugged. “I don’t remember. Maybe it was the Medford Middle School Band.” His tiny little hometown. A small knowing smile, almost a wink, and he was asleep again.

Chris never wanted to leave music, any more than I do. He certainly never wanted to stop conducting. It was all that other stuff: paperwork, meetings, politics, evaluations, bills, groceries, family squabbles, laundry, etc., that got in his way. That stuff was simpler and easier to talk about than the demands of being an artist. Even cancer was easier, perhaps. I realized, though, that when all the noise is stripped away, what’s left is what matters. When everything else was taken from him, including his body, Chris held on to his music and to conducting.



A few mornings later, in the long hours before dawn, I held my best friend’s shoulder while spasms wracked his body. The first MP3 I could find on his laptop, hoping music might soothe him, was Maslanka’s Trombone Concerto. It sounded terrible through laptop speakers, but it brought Chris up from the fog. Lucid for the first time in many hours, he looked straight at me, smiled that broad smile of his, and whispered, “Serendipitous, that.”

I’d remembered the Trombone Concerto was beautiful and affirming, but had forgotten it was written in memory of someone who died of cancer.

The morphine started to work. He was quieter then, maybe listening. I asked, “Do you remember that day, Chris? We went to that first rehearsal together, and heard the first measures, and we were stunned at how beautiful it was.”

His eyes went glassy again, but he whispered, “It was amazing … lonely,” before he slipped back into sleep.

It was amazing. The work features a cello on equal standing with the trombone soloist. All those years ago, overwhelmed by a power we didn’t expect in a mere rehearsal, Chris had leaned over to me and said the cello was “the embodiment of loneliness.” Afterward, sharing a tub of cookie dough with spoons, staring at the television, we were too stunned to even talk about how that music showed us that we, ourselves, were lonely. All we could do was allow an unspoken poignancy and be together, present in the moment. Very shortly after that rehearsal, though, I began to write for Chris my Concerto for Piano and Wind Ensemble. It was a work worthy of being “his,” a work speaking to our shared loneliness. I put a cello on equal standing with the piano soloist. Symphony no. 3 roars; that piano concerto contemplates and weeps.

Chris never was able to conduct it. He never had a band that could do it. Maybe he does now, on that stage in his dreams.


Chris conducting the U. Nebraska at Lincoln’s high school summer camp


The hospice nurse came later that day. She said he had 48 hours left, maybe 72. I didn’t think Chris would wake again, but knowing I had to leave for home, I sat one last time at his side. Patient. Listening. He did wake and looked right at me, took my hand and held it to his chest, squeezed it as hard as he could between his. We didn’t speak … sharing an unspoken poignancy, present in our last moment together, as tears rolled down my face. He never wanted me to cry when he talked about what was happening to him; in fact, the day he called with the diagnosis, he threatened to hang up on me if I cried.

This time, he smiled and said, “Thanks for the visit.” That’s what we always said to each other, after every premiere, at the airport.

You can’t go, Chris.”

It is what it is, Kim.”

 “I love you, Chris.”

 “I love you, too.”

He drifted back into sleep. I couldn’t move. I couldn’t go. Then he released my hand and began conducting again. I kissed his forehead, whispered “goodbye,” and left.

I will never see my best friend again, but I hope I, too, can come back — as he did — to focus whatever time I have left on what really matters.

Be patient.

Listen to others.


Faculty Insights: Composing Away From the Piano


Garrett Schmidt

This is the beginning of my 3rd year of teaching at SIUE. I have learned so much in that time from my colleagues and from our talented students. I’ve also learned something very important from my office. It is SO nice having a piano whenever you want (says the trumpet player). For the first time in my life, I don’t have to fight for a practice room or play on a 44 key electric organ with foot pedals and a BANJO setting that my parents have in their basement.

Since I have easy access, I thought it would be a great idea to write a jazz tune 2-hands-on-pianoeach week and potentially arrange these tunes for the Concert Jazz Band at SIUE, which I direct. This is and was a great idea. However, I quickly learned that my piano skills were holding me back (says the trumpet player).

Throughout my education, I have been blessed with fantastic teachers. Since I was experiencing jazz writer’s block, I gave one of my teachers from the Eastman School of Music, Dave Rivello, a call. Dave is one of my favorite jazz writers and spent a significant amount of time working with jazz composer Bob Brookmeyer. I drove up to Rochester to take a couple of lessons with him at the end of May 2016!

AL061313rivelloCc-1306141316_1_1.jpgAfter Dave tore into a piece that I showed him, he spoke to me about writing away from the piano. Instead of trying to find melodies or chords that work at the piano, there are some “pre-compositional techniques” that I can try with staff paper and a pencil. What Dave explained to me is called the 3 Pitch Module. Basically (kinda), a composer can choose any three pitches within one octave and generate pages and pages of material based on the intervals and their inversions created by those three pitches. After this, the composer chooses a starting note and uses the intervals to choose their next notes. After that, you can use all of those words you learn about in music theory! Augmentation, diminution, inversion, sequencing, and more.

That last paragraph is a little dry sounding, but I am truly excited about working with this technique more and taking my piano skills out of the equation for awhile. Hopefully I will come up with some new ideas and some new music worth sharing!

The one piece of advice I want to pass along to students is to spend time asking tons of


Dave Rivello

questions to your teachers… So you don’t have to drive 800

miles to take a lesson when you graduate!

Feel free to check out some of Dave’s music!



Garrett Schmidt, Assistant Professor of Music, SIUE




Faculty Insight: “What Music Means to Me” by Lenora Anop



Dr. Lenora Anop

Several weeks ago I read a fascinating article in the Wall Street Journal Magazine on the topic: “Secrets: What do secrets mean to me”. This question was answered with a fascinating collection of unique, independent replies from nationally recognizable figures, including a former U.S. spy.

As I considered my topic for my “installment” of the SIUe Music Departmental blog, I found myself continually revisiting this thought provoking article. So — with that in mind and tailored with modifications for our purposes, I offer a fascinating collection of unique and personal responses written by friends, students, and colleagues: people from different continents, different age groups, different professions, different genders, different life experiences. The one common element is that we all listen to music, albeit different genres.

I hope that you find these replies as fascinating as I have.



I think music means different things to different people. Music to me is important. I feel like the music I listen to connects to a certain audience and people can pull out things that relate to them. My goal as a future psychologist is to prescribe music as the number one prescription. — (male) 19, Psychology


Music is an expression of what makes us human. Music transcends all generational, cultural, and lingual lines.  That is the power of music. It means that everyone can understand it. — (female) 19, Speech Language Pathology


Peace. Serenity. Clarity. Music to me is a place to calm my mind when stressed or just to relax. — (male) 22, Business Management


One of my favorite musical quotes: “Music expresses that which cannot be put into words and that which cannot remain silent.”  — (female) 20, Environmental Biology


Music that relates to you becomes a part of you and can forever change the way you think, feel, and understand the world around us. — (male) 19, Computer Science


Music is the physical embodiment of emotion and the voice of the soul. — (male) 19, Psychology


A lot of fun. Really cool. It’s wonderful and beautiful. Fun to listen to.  — (female) 6, 1st grade


Music has gotten me through a lot of trying times in my life. I have a hard time expressing my emotions, so I use the music I listen to to help put my feelings into words. It’s also a great way to connect with people from all different types of backgrounds, and really helps me form a connection with different people. — (male) 22, Business Management


12791057_1292195924127705_7864973997595895720_nIt’s wonderful and fun and it’s so awesome to play for people and it’s so great to listen to while doing school and it’s so beautiful and wonderful to watch people perform. It’s so cool to see a live band play or to see an orchestra perform. Music is everything. — (female) 11,   5th Grade


Music to me is primarily a form of entertainment. Music speaks to and unites people in a way that nothing else in this world can. Music has transcended centuries and is an extremely powerful force in this world. People have used music in politics, as a weapon, for entertainment, for movies. Music is for everyone.  — (male) 18, Undecided


More than I can say. Music provides me with a soundtrack for my life. It gives me comfort. It gives me a way to bond with people I love. It gives me a way to pass time in the car. Simply put, it does nothing but make life better. — (female) 19, Mass Communications


Music has two meanings to me; one secular and the other not so. For general music, I see it as an artistic way for one to properly convey their feelings through instruments and voice. On the other side of the spectrum, religious music sits well in my heart as I have seen firsthand as the passion people have flows out as the love themselves worshiping the Lord.  — (male) 20, Elementary Education 


When I was a kid, music was a game. My mom would turn down the radio in the car for a moment, look back at me, and ask me what instruments were at work. She would then turn the music back up. Louder, once I guessed as many as I could. Nowadays, as a college student, music is my life-saver. It’s my safe place to go when I am feeling down. … Music calms me down and lifts me up. It explains things when words fail. (female), 20, Undecided


CoanJazz8Music is a form of lifestyle to me. I am constantly surrounded by music, whether it be traveling to school or work, watching TV or a movie, and even playing in a band with my friends every Thursday night. Music is a huge part o my personality and I feel that I am highly influenced by it. I feel music is a universal language that everyone is apart of and can understand. — (male) 24, Computer Management Information Systems


The sound of my mother’s voice. — (female) 5, Kindergarten



Without music, my life would be silent – blank – and I would be lost in a sea of solitude. — (female) 19


Music is a way to escape. Making music, on my own or with others, is a way to connect with myself, the audience, other musicians and the composer. And as a composer, music provides a creative outlet for me to create art in my own personal way. When playing, listening, or composing, the rest of the world stops and I can be myself. Since music has been a significant past of my life for 16 years, it was too important for me to not be part of my education at a higher level. — (male) 21


Music has been the biggest part of my life since I was a child. It has taught me everything that I know. In music, I have not only found love with and for other people, but for myself as well. Nothing has ever challenged me so deeply but still given me hope. — (female) 21


Music is my life.   It’s what I enjoy doing, and is now intertwined in the foundation of my life. Everyday I am involved in something with music, and I plan to keep it that way. Whether I’m playing or just listening a form of music is there. — (male) 18


CoanChoir9Music is to me water is to fish, what the sun is to Earth, or oxygen to all living things. It is life. It is how I see and feel, how I interact, how I express myself. It is a way to convey emotion on a level that words simply cannot match. It is the voice of the soul, quietly in the background, or screaming to the heavens. Most importantly, though, it is who I am, and music means all that I am. — (male) 18


It is the way we express the deepest parts of our soul. It is the way we find beauty and peace in an imperfect world. It transcends language and brings people together who exist in all walks of life. It brings joy, sadness, fear, and love and shows people they are not alone. So what does music mean to me? Everything.  — (female) 22


Music, to me, is a journey that never ends. It will sometimes be turbulent and it will sometimes be smooth. It will sometimes be boring and it it will sometimes be exasperating. Although I know I’ll never reach the sublime heights of perfection, that doesn’t matter. So long as I keep persisting with friends [and] loved ones supporting me, I will be more than willing to keep following that journey with a smile on my face. — (male) 19


Music is the bond that links us all together. In the world of music, no limitations exist. There is no discrimination of race, gender, age, attractiveness, etc. — (female) 23



Teachers, researchers, academicians, performers, and composers

CoanHinsonA question with a complicated answer. Music is simple and fun in the beginning. It is something that one can fall in-love with by listening, sharing and wanting to “do”. When he or she decides to pursue the study of music, it becomes work. Developing and refining your technique and artistry over many, many years becomes at times exhausting. There are times when existing as a musician is tiring, difficult, and stressful to a point of not liking it anymore. Playing and teaching music undeniably develops feelings of love & dislike, with greater depth than the average listener will posses… But in-the-end, it is who we are. We become what we hear,  feel,  play, and teach. 


I don’t know any different, and I am certainly not good at anything else. But I wouldn’t trade it for anything.


 Music is the only universal language. It can cross any border and bridge any gap to stir souls and unite hearts and minds. In this way, music is more powerful than the strongest army and more persuasive than the best negotiator.


I’ve always liked a quote from Leonard Bernstein: “Any great work of art revives and readapts time and space … and the measure of its success is the extent to which it makes you an inhabitant of that world — the extent to which it invites you in and lets you breathe its strange, special air.” I’ve had a lot of experiences where I knew it was (for example) 8 pm when a work began and was surprised at what a considerable amount of time had gone by at the end. Or, a work began and reminded me instantly how much I like being in that particular composer’s universe, much like meeting up with an old friend after many years apart. In that sense, music is for me a means of transportation into another reality, where time isn’t strictly linear and the normalcy of my own world doesn’t apply for that moment. As a composer, I find the experience of creating music to be a dream-state. I eventually wake up and there’s a score on my desk, but I never remember much about how that happened, in the same way one doesn’t remember much in the morning about even quite vivid dreams during the night. This is not to say I don’t pay attention to the details of structure, harmonic language, or orchestration when I’m listening, but I do tend to listen more as an immersion process than an analytical one. For this reason, I’m extremely impatient with music that seems predictable (or that I simply don’t like), while I can listen to music I do like many, many times without growing tired of it.


 I love music not simply for the sounds themselves but because it connects us to people and community. Passion for music is wonderful and necessary, but for me the answer to the question involves much more than my own individual experience and personal reactions to music I love. Music is like a life force that allows us to understand our fellow neighbors and human beings in ways that we could never imagine otherwise. I also love learning about the ways that music of the past helped people connect to one another. We can learn a tremendous amount from music of the past and by exploring traditions and musical cultures we are less familiar with. I also love music because of how it documents past history, stories, and encounters between people and communities.



I realize that most people use music as a support system, i.e. the music provides an environment or accompanies an activity that has a priority over the music itself. But for, for me, music is important for its own sake. I love music for the connections it provides: a link to the composer and the people of his time, a connection with the people seated around me as well as the millions who have heard the same piece for the past few hundred years, and the bond it creates between me and my feelings, memories and faith. To hear music is to appreciate the talent and craftsmanship of composer, be astonished by the technical feats of the performer, be inspired by the beauty that comes from combining the venue with the performer and the composer, and to be moved to a vision of a more perfect world. Music brings me closer to God and reaffirms my beliefs. Great music is transformational and uplifting, it can move me to laughter as well as tears.


 Now it is your turn: what does MUSIC mean to you?

Faculty Insights: The First Musical Superstars by Andrew Greenwood


Dr. Greenwood

Superstardom is something that permeates today’s musical landscape. Many kinds of music have superstars: pop giants like Lady Gaga, emerging YouTube stars, or jazz greats and legends such as Ornette Coleman and Miles Davis. In the classical music world they abound too—perhaps not as widely known to the general population as the former—but many of these living superstars serve as role models for young musicians to aspire to. They too, through a combination of their gifts, hard work, and perhaps even some luck (!), might someday live out their dream to pursue music as a career and possibly even enter into that world of musical superstardom.

How long have musical superstars existed for? This is a question that often comes up in my music history classes, although students are often shocked when they find out the answer! Did superstardom start with the amazing virtuosic escapades and fireworks of Franz Liszt at the piano or Paganini on his violin in their 19th-century European tours that truly astounded audiences? Did it begin with labels of compositional genius and heroism attributed to the rising star of Beethoven by E.T.A. Hoffmann in Vienna in the early 1800s? Or what about accounts of the young Mozart playing and wowing kings and nobles? While these were all superstars in their own right, we have to go back further in time to locate the beginnings of this phenomenon.



It turns out that the first musical superstars were famous castrato singers who enjoyed tremendous careers and public prestige across Europe throughout the 1700s. Famous castrati, like superstars, were given “stage names” like Farinelli, Caffarelli, Nicolini, Senesino (Handel’s favorite singer), Tenducci and many more. Around 70 such singers hit the “big time” in the 18th-century and enjoyed successful careers and popularity. They were also paid very handsome sums of money for singing, and were often one of the most expensive aspects of putting on an operatic production (so expensive, that they were one of the factors in almost bankrupting Handel’s opera company!). They served as their own financial agents, so they were also independent musical entrepreneurs while also enjoying superstardom. They were also musical “gurus” and proficient not just with their powerful high range soloistic voices, but on the keyboard, in composition, music theory, and other musicians would frequently seek out their advice (e.g. the Mozart family).


The first reaction that students sometimes have to the above is one of disgust and even horror! How could such a brutal practice such as castration have gone on for so long, and how could it have been encouraged? We know for musical purposes (to keep their voices in the range of a boy), the practice started in the late 1500s and continued into the 1800s when it was finally outlawed Senesinoaround about the same time that Italian operatic tenors rather than castrati were becoming famous. Like many stars today, castrato singers often came from poor backgrounds and their rural families in Italy were told lies about the nature of the procedure, that it was therapeutically beneficial. Some poor families probably submitted their boys to the procedure in the hopes of them finding a better life and a music career in a chapel or perhaps even becoming a famous opera singer. Most never became superstars of course, but church choirs and chapels abounded with such singers across Europe.

Pictures of castrato singers from the 1700s tend to exaggerate their bodily features such as having long fingers, large stomachs, puffy faces, thin arms and legs etc. not so much as objects of ridicule or disgust but more in the sense of good fun and popularizing the singers themselves in the public arena.



People were in awe of the wonders of the castrato’s voice and its capacity for powerful improvised and ornamented singing.

We really have no idea how these singers actually sounded like, and for a long time they were forgotten to history, mainly out of a sense of shame that the practice was so common and condoned by musical and other institutions for so long. It is only now that the castrato’s history has recently been revived and uncovered in a serious way. Solving that mystery is an intriguing puzzle because it tells us something about how the phenomenon of the superstar in music actually began, and what it might be in the future.

Andy Greenwood, Assistant Professor of Musicology, SIUE

Faculty Insights: “Star Trek, Suzuki, and the St. Louis Arch” by Vera McCoy-Sulentic


Prof. McCoy-Sulentic

Star Trek, St. Louis Arch and SIUE Suzuki Program…what could they possibly have in common? They share a 50th  anniversary this year, celebrating a half century of a popular TV show, and iconic landmark, and a philosophy of music education that is known throughout the world.

In 1959, SIUE’s professor John Kendall traveled to Japan to investigate the extraordinary success of Shinichi Suzuki’s teaching method for young violinists. Kendall returned to the United States and began educating musicians around the country about the method and how it could be applied to string education. Kendall was soon appointed director of the String Development Program here at SIUE and initiated the first Suzuki Teacher Training program in the U.S. in 1965.

50 years later, the program still flourishes, now under my direction. I’m a 1988 SIUE graduate who moved here from Oregon to study with Kendall. The Suzuki Program currently has about 230 students enrolled and serves students age 2 through 18. Every faculty teacher has earned a Master’s Degree in Music and has Suzuki training up through Book 5. Most of our faculty teachers have long term university training in Suzuki Pedagogy.

1897745_846736945340274_1011991239327658966_nWe also have graduate students serving as teachers while they earn their Master’s Degree at SIUE. Several hundred graduate students from around the world have completed the SIUE Suzuki Teacher Training program and have gone on to become leaders, composers, performers, and extraordinary teachers of Suzuki Method around the world, including Ireland, Brazil, Portugal, Taiwan, Singapore, Canada, and Sweden.

Some of our most notable graduates are

* Erin Schreiber, currently associate concertmaster of the St. Louis Symphony, started in the SIUE Suzuki Program at age 4.

* Christie Felsing, current Director of Teacher Development for the Suzuki Association of the Americas, was a graduate of Mr. Kendall’s Master’s Degree Program in 1991.

* A recent highlight for a few of our students was a chance to meet Joshua Bell after a rehearsal on Sept. 18, 2015. A former Suzuki student in Indiana, Joshua Bell graciously signed a poster celebrating our 50th anniversary.

Did you know the Suzuki program isn’t only for young children? First, we pride ourselves on parent education, too! Parents of our beginning students learn to play the violin or cello for 8 weeks and perform “Twinkle, Twinkle Little Star” on a Saturday recital. This helps them understand what effort it takes to learn to play violin/cello.

Second, our older students have the opportunity to travel to Europe every other year as a culmination of their years of study and practice. In June 2014 the tour group performed in Austria, Switzerland, and Germany. Past tours included France, Italy, Spain, Czech Republic, England, and Sweden. This is an amazing opportunity for the advanced players to share their gift of music in an international setting.

Third, we have a special program called Community Strings for adults and non-Suzuki students.

We’re looking forward to the next half century! In celebration of this year’s  50th birthday, the students of the SIUE Suzuki program will give 50 performances in our community, post them on our Facebook  and Twitter pages (SIUE Suzuki Program)  and display photos  for all to enjoy in the Suzuki Hallway of Dunham Hall 2nd floor.

Please visit our site, and I hope we’ll see you at some performances!

Faculty Insights: “Character Tenors” by Marc Schapman



The opera stage is saturated with sidekicks to assist the leading men in their romantic conquests. They may not be as notorious, but operatic characters such as Beppe, Pedrillo, Mime, Don Basilio, and the many other character tenors of the operatic stage are just as significant. “Character tenor” has become synonymous with other labels, including “spieltenor,” “comprimario,” and “buffo tenor.” Spielen in German literally translates into “to play”; comprimario is derived from the Italian “con primario,” or “with the primary” and buffo in Italian translates into “comic.” These ideas shed light on the functionality of the character tenor in opera. There are other labels for the tenor fach, including lyric tenor, which indicates an importance of the beauty of vocal color. It is not to say that character tenors should not sing with a beautiful tone, but often the stress of the role lies in the text declamation and acting ability.

LogeRheingold            So why would a young singer choose to pursue a career singing “secondary” character tenor roles? Villians, drunks, dwarfs, gypsys, servants, idiots, “foppish” characters, and many other types are included in the character tenor repertoire. The vast array of characters provides the young performer the opportunity to develop not only a solid set of vocal chops, but also an ability to physically and dramatically portray an abundance of physical and emotional characters. A character tenor must have the ability to move easily from a gnarled grotesque Mime in Siegfried to a fluid and foppish Tanzmeister in Ariadne auf Naxos. The tasks seem quite bipolar at times, but that is certainly part of the job and adds a wonderful element of fun to this repertoire.

The character repertoire is also some of the most appropriate and vocally healthy repertoire for young tenors. Frequently, one of the first assigned tenor arias is “O Columbina” from I Pagliacci. In addition to the wealth of characters there is certainly a wealth of legitimate vocal challenges. For example, the Tanzmeister in Ariadne auf Naxos must have a solid high B-flat at the end of his aria. Pedrillo must be able to tackle with ease ascending lines through the passaggio with a multitude of high A’s in “Frisch zum Kampfe!” Even Mime’s grotesque characters must be accompanied by moments of lyric vocal beauty.

The dramatic challenges of the repertoire are infinite, and it seems like a life-long journey to master to multitude of characters in the repertoire. While vocal technique is important for vocal beauty and longevity, it is certainly not a stretch to say the acting ability is more important in this repertoire. These “secondary” roles must be able to adapt quickly in a rehearsal and bring clear ideas and “bits” to rehearsals.   Rehearsals periods are usually very quick and character singers must come with developed ideas. Stage Directors rarely have the time to work intimately with comprimario roles as they do with the leading men and women.


Dr. Schapman

When I began singing, like many other young tenors, I envisioned myself as a leading man, wooing the dying sopranos in my arms. Ever young tenor has grand dreams of singing arias with handfuls of high notes followed by thunderous applause and “Bravos!” I would never have guessed I would have found my place singing sidekicks, dwarfs, and villians, and loving EVERY minute of it.

Marc Schapman, Associate Professor of Voice and Director of the Musical Theater program