SegfltfornTngA€anWelcome! \Telcome back, if you're among our long-time
for the first time * if you are
friends. \Telcome
attending one of our Mainstage Series as a new audience
member. Old or new you have combined to make this a
record year: we have more subscribers than ever before, and
we anticipate our largest audiences, as well.

Art, poetry and literature converge

ASUI

You are joining a lively group offaculry staff, students,
and guest artists on a campus where more people attend arts
events than attend sports events, in a metropolitan area
where the same is true.

John Risseeuw.

your time here at ASU, and rake a moment ro
read this playbill, where you will learn more about the

Adonis by \7illiam Shakespeare, Pue lla
l
by James Dickey and Alberto Rios'
The Warrington Poems. Many of the works
are a sumptuous marriage of image and type. o

One of a handful of publishing book art
in the nation, Pyracantha Press has
produced limited editions of Wnus awl
presses

Please enjoy

'tWil/"s, Dean

at

Pyracantha Press, an award-winning fine art
press directed by School ofArt Professor

exciting activities offered by the College of Fine Arts. There
is no argument thar our college's reaching efforrs, research
endeavors and perlormance schedule srrongly influence life
of the Valley
and the world. You can find out even more
information about
the College of Fine Arts at our web site
(h rr p://www. as u. edu/cla ).

er

In this age of the mass-produced,
E
E

All of us in the college
faculry. staffand srudents
your time with us is en -joyable!

-

hope

E

F

J. Robert \7il1s

6

:

Risseeuw,

letterpress printer Dan Mayer and their
students often set rype one letter at a time.
Several books have been printed on handmade paper. Some of the works have a
personal connection to the author. For the
volume of poems by Rios, Risseeuw created
a thick paper by mashing into pulp several
cotton shilts worn by the poet.

.9

Consumers of the arrs and education rareb considet
the importance of facilities, unless they are inadequate
or missing. To artists, however, the &cilities are ffiricall
a dancer cannor perform without a dance floor; a metal
sculptor cannot eculpt wirhout a strldio and metalworking
equipment; a tirilliant musical performance wiil sound
inadequate vdthout an adequaq conc€rt hall.

]E

!
I
'a
,

5

Pyracantha Press has produced several
broadsides, large sheets ofpaper printed on
one side, which often served a political
purpose. Risseeuw once printed the U.S.

:

Bill of fughts on paper created from old
flags, yielding a striking purple imprint from
the combination of red, white and blue dyes.

z

Among his award-winning publications are
Spiritland, an artist book collaboratir:n with

$
'b

The College of Fine Arts has a number of extraordinary
facilities. Particularly noreworrhy are rhe J. Russell and
Bonita Nelson Fine Arts Center, which is home to the Paul
V Galvin Playhouse and the Dance Laboratory; Grady
Gammage Auditorium (a 3,000-seat concerr hall designed by
Frank Lloyd Wright); the new Dance Theatre in PE East
132; and the Music Building (which houses four distinctive
performance spaces: Katzin Concert Hall, the Organ Hall,
the Music Theatre and the Recital Hall). Located primarily
in the northwest corner of campus, the facilities of the
College of Fine Arts make up the university,s ..arts district,,,
and they are immediately adjacent to do*.rto*rl Tempe.

In addition to books and volumes of poetry,

E

.sl

o

,:

-

,!

I

Oregon papermaker/printmaker Peggy
Prentice. Spiritland, which was a \Testern
Books Selectionin 7997 and traveled to
more than 30 venues throughout the United
States, was printed on paper made by hand
from plants native to both Arizona and
Oregon and contains poems by Kim Stafford
and Gary Paul Nabhan of the ArizonaSonora Desert Museum.

Jobn Risseeuu, director ofPyracantha Press,
lays out sheets of newly made paper for
Eco Songs, A current worh-in-progress.
Pyracantha Press publications can be found
in such diverse collections as: the Bodleian
Library, Oxford; Folger Shakespeare Library
and the Library of Congress, Washington,
D.C.; the Royal Family of England; and

university libraries from Maine to China.

.

by dianne cripe [lnformation Specialist
Coordinatoq College o{ Fine Artsl

,',nlsqseuw, ifldy c$rnqapyiiaro,tlea1i;qitri
off their shelves and selling several

rj,

;r.i,

volumes at half their original price.

g'hd,

woiliq, Q,q lale ?le tv,e.nrrs
iArnon
il .l
,:ahd Adaniis,blr'Sh.*atierre,,;Pildt ai brl{,,rl

ttr

I

I I il

James Dickey, The Warrington Poems

by Alberto Rios and Joanna Kraus's
The Last Baron of Arizona, a play
based on the largest land fraud
incident in U.5. history. For a price

sheet, or other information, contact
: ,lOhn,Fiireeuw at.480;965:37.1$,',

.

,.,,,

.

.,

J

Best to the Vallev
Zealand organisr Martin Serchell, *ho *iil
take the audience on 'A European Organ
Tour" on (Sunday) Ocr. l0 ,iZ,3O p.L. ;n

the Organ Hall. "This is an ideal program
for showing off the many possibilities of
the Fritts Organ," explains Marshall.

The School of Musici Frits Pipe Organ

The Arizona State University School of
Musict popular Organ Series, showcasing
the state-of-the-art Fritts Pipe Organ, is
gearing up for the new millennium.
"We've scheduled five recitals by organists from
near and far, and three special ticketed evenrs,"
notes Kimberly Marsha.ll, Director of Organ
Studies and Asociate Professor of Music.

"\7e hope to broaden interest in the organ
and its many functions in todays socieq/."
Organist and composer Michael Burkhardt,
who is joining the School of Mr-rsic faculry
this semester, opens rhe Organ Series with
an afternoon of "Hymns, Psalms and Spiritual
Songs" on (Sunday) Sept. 26, at 2:30 p.m.
in the Organ Hall.

"This is the first of our special ticketed
events," notes Marshall. "Michael is known
for his inspired sacred music, and this is a
great opportunity for those who enjoy

4

The ASU Organ Studio will present its first
Halloweenfest concerr twice on (Sunday)
Oct. 31 at 2:30 p.m. and 7:30 p.m. in the
Organ Hall. This is the second in the series of
three ticketed concerts. "We hope to make this
an annual tradition that will open new lini<s to
the larger metropolitan community," notes
Marshall. Performers will be in Halloween
dress and the audience is encouraged to join
in by wearing Halloween alrire.

will perform a free concerr
of "Music for Princes, Prelates and
Townspeople" on the Fritts Organ on
(Sunday) Nov. 14, at2:30 p.m. in the
Organ Hall. Keyl, who is a leading expert
on Cerman music, will be joined by a group
of a cappel/a singers in recreating the practice
ofalternation between voices and organ that
was typical during this time period.
Stephen Keyl

"In January, the Organ Series hosts the
return of ASU Professor Emeritus Robert
Clark as he performs a concem entitled
"From the Thuringian Forest." This free
concert will be held at 2:30 p.m. on
(Sunday' Jan. 16. "He will play excerpts
from his newest recording," notes Marshall,
"that explores the flourishing organ culture
of the small region in Germany that spawned
the famous works of Bach and his students."
The Organ Series celebrates Bach Year 2000

with

a ticketed concerr by Marshall on

singing to the accompanimenr of a great
organ and organist."

(Sunday' Feb. 6 at 2:30 p.m. in the Organ
Hall. "The Life and Times of J.S. Bach' is a
specially designed program modeied after the

Among this yeart five free concerts in the

hit show, Amadeus, that

Organ Series will be a performance by New

through his organ music.

traces Bachs

life

The married duo of organist Marnie
Giesbrecht and pianist Joachim Segger
travel from Canada to give a free concert,
'A Gourmet Musical Feast," on (Sunday)
Feb. 20 at 2:30 p.m. in the Organ Hall.
"Marnie offers a most imaginative way of
organizing her repertoire as a musical feast
that shows off the versatility of the Fritts
Organ," says Marshall.

BEEf,qpCAFE C]-tt
underground ba

The Fritts Pipe Organ is housed in the Organ
Hall which is located on the first floor of the
School of lv{usic Building. The room was
designed specifically for the Fritts Pipe Organ.
Such details as the wood barrel-vault ceiling,
masonry walls, lack of sound-absorbent
materials and the high, rectangular shape of
the room are direct influences from the rypical
churches in which pipe organs were played.

il
,,\

Faculty Associate Michael Burkhardt,
who opened the Organ Series, closes the
season with a free concert, "Improvisation
through the Ages," on (Sunday) March 26
at 2:30 p.m. in the Organ Hall. "He will

display his prodigious improvisatory talents
in an overview ofthis practice through
history," says Marshall.
by mary brennan flnformation Specialist
Coordinator, College of Fine Artsl

Tickets for the concerts with an
admission charge, Sept. 26, Oct. 31
and Feb.5, are priced at $12 for
general audiences, $10 for ASU

faculty and staff and $8 for senior
citizens and students.
For advance sales, call the College of
Fine Arts Box office, 480-965-6447.

Depending on availability, tickets will
also be sold at the door. Seating for
the free concerts, Oct. 10, Nov. '14,
Jan. 16, Feb. 20 and March 26, is
on a first-come, first served-basis.
The doors open at 2 p.m.

Ilinner and tate
night dining.
"The best" live
music nightly!
4to'tq4-12'.
I)owntown

Termr

on Mill Avent
et sth stre

ful first year
Metzger. "tW{hen you deal with the engineers
you only hear the engineering side. To work
with the students over here...it's amazing
how much more complex art is than
I thought originally."

Ron Kuiuilals Locus of Fo<
co

mp

u

t e r-

con

t-

t t, d p

o

inti\g

tleuices were deueloped
and fabicared in the
Ti:chnology

Deuelopment Studio.

betr,veen engineers and artists has resulted

in

the development of innovative humanmachine interfaces for visual and performing
arts. Engineering students experience how
theory is translated into aesthetics
51udsn15

from the College of Fine Arts experience

the discipline ofa creative experience fueled
by mathematics.

The studio was proposed by Jim Campbell,
a San Francisco artist who has merged math
and engineering to rhe visual arts, and
whose guest residency ar ASUt Institute
for Studies in the Arts has created a lasting
legacy

the Technology Development

Studio (TDS). Already the studio has
enabled the Institute to produce a number
of technological solutions for the specific
needs ofartists. They vary from a voiceoperated theatre lighting sysrem, ro a
mechanical bull used in performance art,
to a series of motion controlled robots
to be featured in a f;rll exhibition at
ASU's Computing Commons Gallery.
Campbell, whose guest residency at the
ISA and fall exhibition at the ASU Art
Museum were the caralyst for the creation
of the TDS, said that it was the fulfiliment
of one of his dreams.

"I hadnt

combining of engineering
departments and art departments done in
seen the

a successful way, before," Campbell said.

"However, the engineering department at
ASU seemed large enough and good enough,
and the art being created here seemed good
enough and interesting enough, that
I thought this might be the place where it
could actually work. I had been waiting for
the right place to try and make it happen."

And the result? "I think

itt

about as ideal

SEPTEMBER

27

.

DECEMBER I

JANUARY 29
.for academiccilly

-

ISA Director fuchard Loveless is pleased
with the progress made during the studiot
first year, "The studio exemplifies the process
of transanimation that is at the core of the
Institute's research agenda. Proposals we
received this year from artists wanring to
work in the studio reflect the significance of
the initial research and the promise of
important contributions to both art and
engineering through these collaborations."

.

by jennifer pringle

In{ormation Specialist,

ASU

Ta

Main and

West campuses,

Central Phoenit'

*llve
Students Grades Pre

K- 1 2

and Scottsdalr,

m'

Anrzox,q.

Financial Aid
Available

Sl

UNrvrRs,
For more information c,

480/965-47 57 . rax 480/965-1 tlr
cap@asu.edu . rww.asu.edu / edtc/ c',t

College of Fine Artsl

as

I could

have imagined it," Campbell says of
rhe TDS. one year alter irs creation.

George Pawi, Senior Gchnical Director
with the ISA, said thar the studio has
created an environment where the creators

of the technology worked with the artist
rather than for them.
"It's far more of a collaborative effort than it
used to be," Pawl said. 'As a result, the end
product is qualitatively better."
Richard Metzger, a graduate student in
engineering, has been involved in many of
the studiot activiries during its first year.

"Evely time I tell engineers that I am doing
engineering in the art college, they laugh,
but itt really neat ro see and hear about
things from a different perspective," said

I

APRII. 8

I

ISA|

In a sma.ll studio in the northwest corner of
ASUI sprawling campus an unlikely pairing

Fall & Spring Programs

Famous for our Fresh Fish Dinners.

steaks, chicken and cajun favorites.
Patio Seating . Valet Parking Thurs.

It's more than just

- Saturday.
water under the bridge
in Tempe . 480-966-l7OO

school of Music
presents

the symphtnic
band
ASU Dance has much to celebrate!
Entering its 45th year and lauded as one
of the top 10 dance programs in the nation,
the department now adds the new Dance
Theatre to its list of disrinction.
Located in the Physical Education East
dubbed'PE East 132'
Building, Room 132
is
the Dance Theatre now home to the

-majoriry

of Dance Mainstage productions.
The need to renovate the old dance space
into a larger, technologically advanced one
arose out of the phenomenal growth ASU
Dance has been experiencing. The theater
officially opened in September 1999.

"The Dance Theatre is a wonderful

space

for both the students and the audience,"
comments Production Stage Manager
Carolyn Koch. "The dance space has been
doubled, providing students with the
experience oFbeing on a stage in a more
professional setting. "
The new Dance Theatre now seats 280.
New cushioned chairs improve audience
comfort, while the new risers better the
audience's ability to view the performance.
For students and audience alike, the
technological improvements make for
better dance experience.

a

The Dance Theatre in PE East
interactiue performtnce theatre

1j2

is the only

in the U.S'

Improvements include a new spring floot
additional iighting capacity, state-of-the-art
sound and a newly installed technology that
involves multi-media.

October 12, 1999
Gammage Auditorium

"The sound system is technologically
evolved, including the addition ofstage
monitor speakers, which augment the house
speakers," says Koch. "Both the light board
and soundboard are a big improvement for
everyone who participates in a dance
concert, whether on stage or off."
The addition of catwalks and permanent
lighting position gives the department much
greater lighting capacity. The lighting
inventory has been substantially increased,
and a black scrim and black legs also have
been added. The floor is now a sprung
subfloor by LAire that is covered by a
Harlequin Studio Floor.

ASU Dance will continue to use the
Dance Lab, in the Nelson Fine Arts Center.
A delightful experimental dance theateq this
space seats 170. It wili continue to be used
for site-specific works, such as January

2000t dance concert Danceworks II.

.

by megan krause [lnformation Specialist,
College of Fine Artsl

Conductor

gary w. hill

HilFineAr
Srnrr Urtvrn:
ARrzoxa

band personnel

program
william schuman (1910-1992)

Chester Overture (1956)
Caricatures/More Caricatures (1997 I 99)

jere hutcheson (b. 1938)

John Cage*
Georgia O'Keeffe*

Andy Warhol
Carol Channing*
\7oody Allen*
Harry Houdini*

julee avallone
kate faber
andrea hounjet

julian peterson
trevor roach

mario villalobos

aaron copland (1900-1990)
michael daugherty (b. 1954)

lntermission

leonard bernstein (1918-1990)

john harbison (b.

1938)

Fervent and resolute
Tough, driving

cassie samples

kelly thomasx

linda watkinsx

ryan bledsoe
simon hutchings*

Clarinet

Baritone Saxophone

joeri alleweireldt

deanna kirchoff*

ben baron

elizabeth schenck

marie-julie chagnon
jessie coyle
Tiumpets
guillaume grenier-marmet natalie m. bruno*
tim haas
kenneth hepner
eric hansen
scott miller
katherine helms
amanda pepping
melonie mccown
brian roberts*
james schmidt
amy parks
james quintero
allyn swanson
marisa sharer
rebecca

tout*

Americans We March (1929)

charles ives (187 4-1954)

henry fillmore

(1 88

1-1956)

glenn hart
andrew hitzx
joseph koski
curtis peacock
dan slipetsky
Percussion

ryan anthony
casey farina*

jordon gallaher
michael richau
steve sehman
melanie tabey*

james parkinson

Associates/Ensemble
Managers

Oboe

todd scheldrickx
matt b. smith

german gonzalez
barry kraus

Bass

john philip sousa (t854-1932)

Horns

tristan bouilly
eric fuller

andrey astaiza
alan benson
jennifer l. kangas
jennifer linek
gary moss

Clarinet

susan govier

"Country Band" March (c. 1903)

Euphonium/Baritone

jennifer jester
Tenor Saxophone

anne watson

relentless energy

The Liberty eell March (1893)

patrick zaur

Tubas

Motown Metal (1994)

\7ith

chad mccoy
chris niilesela

monica sauer
amy tatum

Down a Country Lane (1962)

Three City Blocks (1991)

Alto Saxophone
david jenkinsx

tina kuenzel*

*Premiere Performance

Overture to "Candide" (1955)

Flute
jessica allen

erik behr*
gina marie carr
clara george*

catherine thompson

Graduate Conducting

* Principal

flombone
bob cockrel
gary hellickx

Personnel are listed

Tiombones

equal importance

Bassoon

eric bestmann*

of each member.

rebecca cain

nathaniel parker

kevin coles
kathleen cronin

rachel whipple*
timothy wiggins

ben dickenson
lisa govier

lara saville

jenny wheeler
ryan zwahlen

Bass

in alphabetical order
to emphasize the

amerlcan lcons:
rnusical snapshots ofpeople and institutions that embody our cwhure.

bell that chimed for our independence; Ives gives us a humorous version of the foiblcs and soLretimt
nusical disasters of the nineteenth century amateur band; and Fillmore reminds us that "old-fashionr

Our richly diverse and innovative culture has ordained many icons during its history. These people and

prtriori.m

institutions have become biggcr than themselves: symbols that go to the core ofwhat defines
'America." Tonight, through the creative yield of nine American composers, we Pay r musicll visit to

For those who wish, further notes about the comPosers and their rnusic follow. Eniovl

some of our most significant.

our trip

begins at the beginning, with our country's founding as a haven for myriad religious

institutions, and its subsequent quest for independence. Ylilliam Billings, one ofyoungAmerica's first
composers, wrote the hymn and marching song Cltester to express the firmness of conviction and the
desire

c.rn srir ur srilll

for freedom felt by the colonists during the 1770s. It became so popular during the fight for

independence that

it

,f

william schuman, born on August 4,

191

0, in New Yorh city, atrended columbia Un iversity, whc

University, and in 1945, became the president of Julliard School of Music. His compositions havc
nLlmerous awards, including the first Pulitzer Prize for mus jc in 1943

Schuman's setting beautifully captures the spirit of the original, as well as the revolutionary fireworks

ignited by our cultural ancestors.

ofportraits ofpersonalities that

Chesteywas born during the very time of the American Revolutiotl, appearing

have dominated our

\(illiam Billings called

in 1778 in

a bool<

'

The Singing Maxer's Asistdnt. This book

imaginations in the worlds of art and entertainment. These six charactets serve as reminders that the

tunes and anrhems composed by

uncommon is often what captivaresl John cage, a true explorer of sourd; Georgia o'Keefe, with her
desert,inspired images; Andy \(arhol, through his shocking reproductions of common objects; carol

became known as "Billings' best," following as

lWoody Allen, his characters anxiously striving to
Channing, the perfect "dumber-than-dumb" blonde;
most
provocative "dare,devil" of his time; are
Houdini,
the
Harry
overcome life's challenges; and

contemporary, as "the father of our New England Music."

it did his first book called

The New Englnnd Psahu

slzgrr, published in 1770. Billings, born in Boston in 1746, was describcd by \(/itliam Bentley,

a

jere t. hutcheson studied at Louisiana State University and then at Michigan State Universitl', whcrc

marvelously captured through these brief, virtuosic musical snapshots.

has been a member of the faculry since

\rhat picture ofour culture would

1999

studied with Roy Harris. Schuman served on the laculties of Sarah Lawrence Collcge and Colrrn.l.i

1X/illiam
was sung around campfires and played by fifes and drums on the march.

Jere Hutchesons Caricaturesis comprised

Gary\il Hill,

il

re s

as

follow s:

John Cage:

"l

have nothing to say, and

C ar i catu

be complete without a tribute to our agricultural heritage?

1

965. He describes his settings from Caricatures and More

I

am saying

Copland's Doan a Country Lane offers opportuniry to reflect on the open spaces and simple times that
once enveloped our lives.

it." Following an innovative early period that

spawned such creations as his Cons*uction in Metal pieces and 6is Sonatas and Innr/ule s for I't'eparel

\(e bring our first half to a rousing
sryle, and the power

close

Piano,John Cage set out to explore the nature ofall sounds in all combinatious. The organiz.rti.rn ol
sound was prescribed by chance operations and philosophical notions taken from Zen Buddhism.

with Michael Daugherqis Mototun Metal rhe sounds' the

ofthe machine at the forefront ofAmericJs rise to industrial super-power-the

automobile-are rivetingly portrayed by the band s metal: its brass and metallic percussion instrurnents.
Georgia o'Keefe : Desert Images. Georgia o'Keefe was inspired by the rocks, bones, tcrrain, sky, and

Leonard Bernstein, arguably the most prominent American musician of the twentieth century,

colors of the desert. She spent half of her long lifc in New Mexico.
Andy \ifarhol: The Giant Soup Can Machine. AndyVarhol stunned the art rvorld with his series of

contributedmuchtothegenre. Onthe Tbwn,\YatSide Story,andCantlidr,fromwhichthiseveningi

reproductions of everyday items.

Our second hatf begins with

a salute

to another American innovation, American Musical Theater.

music comes, are among his most noteworthy.

know that!" carol channing is unique, completely unforgettable with
that blonde coifhLre, the pointed features, the penetrating voice, the target eyes. Though quite versatilc
she is perhaps remembered most fondly for her portrayal as thc drrmber-than-dumb blond.

carol channing:
Continuinginamusical vein,JohnHarbison's ThreeCityBlocksisanamalgamof"soundsofthe city."
Can you picture slowly turning the dial ofyour 1950s radio to various stations until your imagination
transports you to the hotels and ballrooms.where the music is being performed? In this case, Harbison's

radio, not only gradually changes venues, but travels through time, until both the music and the street
scenes from

which it

emanates become more modern, fast-paced, and frenetic!

"oh...I didnt

,I
\{/ooclyAllen: The Hypochondriac. \X/oodyAllen is one of the most important movie-makers of our
time. He writes parts for Iovable and vulnerable characters trying desperately to deal with life's
chal lengc..

Tonightt musical journey comes to an end with a trio of celebrated marches that embody three great
icons: the Liberry Bell, the town band, and that'American spirit" that lives in us all. Sousa rings the

irr w'rtcr
Harry Houclini: The Escape. Harry Houdini, bound in chains or straight jackets, submerged
cscaPcs'
miraculous
with
his
his
audiences
suspendcd high in the ait amazcd

lmerlcan lcons:
aaron copland achieved a stature unequalled among twentieth-century American composcrs. He rvas
pioneer in the development of an 'American

sryle"

a

he incorporated jazz elements, American folk

tunes, and cowboy songs with contemporary harmonic and rhythmic practices, producing highly
accessible music. Copland served as a mentor

to gcnerations of young

john philip sousa
century.

In

is an icon among prolessional bandsmen active

prior to the turn ofthe twentieth

1880, Sousa, who had estabtished himselfas a famous conductor, comPoser, and:rrranger,

was appointed leader of the U.S. Marine Band. Sousa resigned from thc Marine Corps

composers.

bancl assumed a position ofequality with the finest symphony orchestras

Doun d Countrl Lanewas commissioned by Ltft Magazine, the original piano version appe;rring in the

The Liberty Brld composed

wrotc that "the music.is descriptive only in an imaginativc, not literal sense."

Hinton, one of the band's
michael daugherty has created a niche in the music world that is uniquely his own, composing concert
music inspired by contemporary American popular culture. His Metropolis Symphony for orchestra and

-Vorks cornmissioned by the Kronos

Quartet include Eluis Euerywhere for three Elvis impersonators :rnd string quartetr and Sing Sing: J.
Edgar Hoouer. Daugherry s opera, Jackie O was premiered and recorded by the Houston Grand Opera.
Motoun Metnl, commissioned by the Detroit Chamber-il/inds and Summit Brass, is inspired by the

ofthe

day.

His influencc on

Americirn musical tastes was rcmarkable, and much of his influe nce spread abroad.

publication's June 29, 1962, issue. Copland composed the work with young musicians in mind and

Bizayro for symphonic winds are a tribute to thc Superman comics.

in 1892 to forrr

his own civilian band; the finest available irrstrumcntalists were engaged, and in a matter of months this

in 1893,

is one of Sousa's best-loown marches. Sousa and George Frederick

managers, were

in chicago witnessing

a spectacle

called'America" when

a

backdrop, with a huge painting of the Liberty Bell, was lowered. Hinton suggested that "The Liberq' Bell,"

would be

a good

title for

Sousa's new march. By coincidence, the next

morning Sousa received a letter

from his wife in which she told how their son had marched in his first parade in

Philadelphia

a parade

honoring rhe rcturn ofthe Liberty Bell, which had been on tour. The ncw march was thus christened and
wN the first composition to bring Sousa a substantial financiat reward.
"CounnT Iland" March was composed

in 1903, five

years after Ives's graduation from Yale Collcgc anci

sounds of automobile clamor and the sixties "Motown' sound. According to the comPoser, " Motozun

four years prior to his lucrative insurance partnership with Julian Myrick. Ives had recently resigned

Metalis an assembly line ofascending and descending glissandi and rapid chromatic

organist at Central Presbyterian Church, NewYork, ending thirteen and one-halfyears as a ch,trch
organist. \While a church musician, Ives had used much of his experimental geniLls in composing worl<s

scales,

predorninantly heard in the trombones. The tuba, glockenspiel, and anvil create a funky polyphony,
while the trumpets and horns play big band staccato chords.

I

draw on my experience playing

percussion in sixties soul music bands and bugle corps to create brassy industrial-strength polyrhythms."

leonard bernstein is remembered

as one

of America's foremost musical geniuses. The pianist/composer

achieved instant fame as a conductor when, at age twenry-five, with sixteen hours notice and without
adequate rehcarsal, he conducted a Sunday afternoon broadcast ofthe New York Philharmonic after the
scheduled guest conductor, Bruno \falter, suddenly became ill.

as

for the available choirs. "CounnV Band"March is one of thc early examplcs of Ives's using the
instrumental medium to develop new compositional techniques.
The marchs principal inspiration draws from the loibles ofthe amateur band. Using discoordination,
"out-ol-kef' notes, and "out-of-step" rhythms, Ives creates near-pandemonium while quoting wellknown tunes: 'Arkansas Tiaveler," "Batde Cry of Freedom," "The British Grenadiers," "The Girl I Left
Behind Me," "London Bridge," "Marching Through Gcorgia," "Massa's in de Cold Ground," "My Otd
Kentucky Home," "semper Fidelis," "Violets," "Yankee Doodle," and several unidentified tune

Candide- Bernstein's operetta

based on

Voltairet satirical novcl about the'bastard cousin' of Baron

Thunder-Ten-tonk and his love lor the Baront daughter Cunegonde
musical life on Broadway

in 1956. However, its lively overture, premiercd by the New York

Philharmonic Orchestra under the direction oltthe composer

\flalter

Beeler, has become a favorite

john harbison is

-

in

fragments.

had an unfortunately short

1957, and lat€r adapted for band by

in the concert repertoire ofboth orchestras and

bands.

a native of the state of NewJersey. He studjed at Harvard Universiry

with Boris

Blacher in Berlin, and with Roger Sessions at Princeton Universiq'. Harbison has written in most genres

in.luding,'pcra. hall.r. and chrmber music.
Commenting on Three Citl Blocks, Harbison says: "Over the radio, in the early fifties, came sounds
played by bands in hotels and ballrooms; now distant memories that seemed to a seventh-grade, small-

Frederick Fennell tells

LLs

rhar henry fillmore was the most colorful bandsman of his time, and that era

strctched across fifty vibrant years during which he probably wrote more band music

under assumed names

-

that than any composer/bandmaster in history.

sounds

layered with real experience of some of their places of origin; magnified,

destabilized

came into contact with other sounds, some ofreccnt origin, and

resulted in rhese celebratory, menacing, Three City B/ochs."

it

a string ofmasterpieces uniquely ofhis own flavor.
happy
a piece of music as I know. Fillmore dedic:rted it "to
in
1929,
is
as
Americans lZa firet published
ofthat
great triad ofmarches tlrat are the basis ofour
forms
one
rhird
all ofus," and he meant it. It

patriotic inspiration of this positive and traditional source of such an elusive, pcrson:rl ingredient. The
three marches are of course: Fillmore's Americans lZa Bagleyi Nationa/ Emblem, and Sousa's The Stars
and Stripes Foreuer."

distorted, idealized and

much of

His irrepressible talcnt for marches produced

town, late-night, listener like the true pulsc of giant imagined cities.

Years latcr, these

-

Gcrman Gonzalcz/Barry Kraus, l999

biography
gary w. hill is Professor of Music and Director of Bands at Arizona

State

University where he conducts the Symphonic Band and teaches undergraduate and
graduate conducting.

Prior to Hill's appointment at ASU, he was Director of Bands at the University of
Missouri-Kansas City Conservatory of Music, where he also served as Music
Director for the l{ansas City Youth Wind Ensemb/e, and conducted rwo professional
groups: the Kansas City Syrnphony Brass Ensemble and newEar, a chamber ensemble
devoted to contemporary music. Previously, he held a similar post at East fbxas
State University and was Associate Director of Bands at the University of
Colorado, Boulder. Hill began his teaching career in Michigan where he served as
Director of Bands for the tVest Bloomfield and Tiaverse City public schools.

Hillt direction have
Music Educators
for
Band
Association,
the
the
National
given performances
National Conference, the College Band Directors National Association, the
lnternational Horn Symposium, the National Flute Association, at many state
conventions, and throughout North America, and Europe. Performances
conducted by him have drawn consistent praise from composers, performing
musicians, and critics alike fol their insightful, inspired, and cohesive lealizarions,
and lur rlreil imrgirrrrive progrrnrrning.
High school, universiry and professional ensen.rbles under

As a guest conductor and clinician, appearances in ten countries and wenty-five
states have included performatrces with a myriad of high school honor bands,
numerous college and universiry wind bands and or-chestras, at the Midwest
lntemational Band and Orchestra Clinic, and at tl're tVorld Association of
Symphonic Bands and F,nsembles' inaugural conference. During the last ten years,
he has plesented fifty workshops on conducting and rehearsal technique for
instrumental teachers of ali levels and has served as a clinician for more than seven
hundred bands and orchestras.

Hill

has developed a conducting pedagogy that promotes the systematic and
parallel evolution of the musical and kinesthetic perceptions and skills utilized in
conducting, thereby advancing the genuine articulation of musicianship through
trodily actions. Hill is currently involved with the investigation of digital
technologies applicable to the conducting classroom.

Hill

of numerous professional organizations including the
Music Educator:s National Conference,'fhe Society lror American Music, the
Condr-rctor's Guild, and the College Band Directors National Association, for
which he has hosted conferences, served as president of the Southwestern Division
(1989-91), and is currently chair of the National Commissioning Committee and
National Vice-President.
Gary W.

is a member

Upon first glance, one pegs the ASU
Repertory Tioupe (ART) as an outreach
program of the Department of Theatre.
Oops, wait a minute, outreach and it
provides educationai opportunities for
theatre students. OK, really, outreach,

education, and it uses theater ro prompr
social change. Oh dear, is that everything?

This active troupe performs a myriad of
services, both in the greater Phoenix area,
the ASU community and within the
Department of Theatre.
This troupe does a lot.
ART brings
Founded in 1996 by Professor ofTheatre
Jean Thomsen-Youel, ART is an ensemble of
graduate and undergraduate theatre artists.
The troupe pursues its dedication to
performance, education and community
through a diversified theatrical repertoire.

Sbakespeare to

hcal

schools,

suclt as this scene from MacBeth.

The ensemble collaborates with
communities and schools to produce
interactive outreach programs such as
theatre for youth, theatre for social change
and participatory en rerrainmen r.
For its work, ART was awarded both the
1998 ASU President's Awardfor Innouation
and the Campus Enuironment Team's
Competitiue Grant.

Quality Custom

Ticlure Framinq ln A
Fraction 0f The Timel
Mesa
2909 5or:thDobsonU.
Soulh of GuaAa)upe
beaide \[]alAenbooke

(4BO) 345-0133
The Shakespeare'Workshop has been one
of its most successful endeavors. ART tours
Valley junior and senior high schools,
presenting scenes from Shakespeare as part
of the Department of Theatre's Theatre for
Youth program. Each workshop is designed
to suit the specific needs of each classroom.
lsee asu repertory troupe continued on page 10]

Ahwatrukee Foobhills
4232E.

Chandler blvd.

1 rriile weeL

of

I-1O

beeide Sonic

(4BO) 75e-75OO

www.f2sf,fraftle.corn

teasures and Technology Combine
in museum's fall exhibition
actors needed more venues in which to
practice their various areas of interest.

ASUI Student Life Department invited the
Department of Theatre to join their new
project on sexual assault. The ASU Law
School approached me about collaborating
on a new course calied, 'Lawyering Theory
and Practice.' ART was born," she explains.

In the

area of Theatre

for Social Change,

ART's repertoire includes plays written to
address important social issues in the lives
oftodayt young adults. Its Sexual Assault
Project is an integral part of this, with
presentations given in ASU residence halls,
Greek Life, athletic groups, ROTC and UNI
100 classes (Universiry 100, a class taught to
familiarize freshmen with the university and
campus life).

supplies

ARI with "roles" it

needs

in

a given

semestet and ART supplies the actors.
ln this way. law students can practice
lawyer-client interviews, depositions, discuss
settlements and perform mock trials. Similar
inter-departmental relations exist berween
ART and the Departments of English,
\ffoment Studies and Student Health.

The troupe also provides Theatre for Youth
workshops. By combining a short
performance with an integrated workshop,
young audiences in elementary and high
schools may find themselves performers. The
workshops not only entertain, but also build
in youngsters a strong enthusiasm for the
theater arts and develop dramatic skills.

.

by megan krause ilnformation Specialist,
College of Fine Artsl

sche,

Following on the heels of its extraordinarily
successful exhibition, Contemporary Art fom
Cuba, the ASU Art Museum has an exciting
season with a number of exceptional
exhibitions planned for the L999-2000 year.
The ASU Art Museum will buiid on its
reputation as one of rhe most exciting
universiry museums in the country, with
the opening this fall of two very significant
yet very different exhibitions. Jim Campbell,
an exhibition of work by the pioneer of
interactive elecrronic art, premieres
September 25.

And an exhibirion containing many neverbefore-seen pieces of 20th-century art,
The Eye of the Collector: Works from the
Lipman Collection of American Art, opens at

reveals the complex layers

ofour

of different

existence.

'

In addition to seven pieces dating from
throughout the 1990s, the exhibition iri
two new works created by Campbell dL
residency at another unit of the Colleg,
Fine Arts at ASU, the Institute for Str
the Arts. A color catalogue accompar
the exhibition is the first major publl

on the work of Jim Campbell.
Campbell obtained degrees in both r
engineering and mathematics from t]
Massachusetts Institute of Technolog
he also began experimenting with
[see treasures and technology continued on

p.

the ASU Art Museum on November 20. The
Lipmans collected and donated hundreds of
pieces of American arnvork during their
lives, but this exhibition draws on works
from their private collection, most of which
have never before been publicly exhibited.

JIM CAMPBELL
Jim Campbell is a landmark exhibition
featuring interactive electronic installations
and sculptures created by the artist during
the 1990s. Campbell is a pioneer of the use
of electronic media in art installations and
sculptures. He uses the unique capabilities
of his medium to explore individual and
collective memories, time and space, and the
electronic and the real.
Heather Lineberry, senior curator at the
Alexander Calder 1947, Portrait of the I
ASU Art Museum, is curating the Jim Campbell as a Young Man, painted sheet metal
exhibition. Lineberry says that by involving
From the Lipman collection
the viewer's image in the works, Campbell

easures and technology
lcontinued from page

1

1]

filmmaking. This eventually led to his
creation ofelectronic obiects and
installations that involve the viewer.
FYF, OF
The

$e

THE COLLECTOR

of the Collcctor: Works fnm the Lipman

Collzcion ofAtnerican Attis an exhibition of
works by such internationally recognized artists
as Alexander Calder, Roy Lichtenstein, Louise
Nevelson and Claes Oldenburg. Fine art, folk art,
jewelry furniture and wen toys comprise the 74
pieces in this extensive exhibition. Other featured
artists include David Smith and Lucas Samaras.

The Lipman exhibition at the ASU Art
Museum is made possible through the
cooperation of the late couple's son and
daughter-inJaw, Peter and Beverley Lipman.
Jean and Howard Lipman exerted a major
influence on 20th century American art. Jean
was editor of Art in America for 30 years and

later served as editor of publications at the

Whirney Museutn of American fur. She was
the author of26 books and hundreds ofarticles

i,,,|,f,afuE;Thke

As a member of th.is audience, yor.lr
involvement is most appreciared. We invit.
you to take your suppol r J \lep or two
further. Become an important partner in the
colleges growth by volunteering your time.

Howard was a trustee of the Whitney fbr
24 years (serving as chairman for seven years),
and secretary and treasurer of the Archives of
American Art. He served on the Board of
Tnrstees of the Phoenix Art Museum after:
moving from New York to Carefree.

The Lipmans began assembling a collection
oFsigni6cant lolk and contemporary art in
the eariy 1930s, long before the works or
artists had received international recognition.
They became personal friends and early
patrons of Calder, Nevelson and Smith.
However, they retained a significant number
for personal use during their lifbtime, and it
is from this collection that the ASU Art

Part in the College of Fine Arts -"- ASUI 'Arts

In art,

as

is always
, ::t.::. :: l:
.:t: :.:) .: , )

,

I

in liFe, being an active participant
lhe morr :arir[,irrg role of rll.

,I

,

Do you havc a specific interest in one of the

.

arts?

For specific informarion on a C.-f$1;1,1,
involve ment group, rhe contacts are liste,
here for your convenience' The faCulty, s'
and students in the College ofr,Fift ts
rhank you For your int.r.fr!
,

ASU FRIENDS OF ART
ASU PHOTOGRAPHY
SUPPORT GROUP,Ii lrir,iiilj,

rt,',,,ii:,,.,,,1:,':",,

::

:t':i,,',

Is fine art your passion? Join the ASU

Art

your
teaching skills to guide students and outof-town visitors through the galleries. If
you like sales and being around beautiful
jewelry and artifacts, you'll love working in
Museum'.s docent program and use

the Museunr Storc.

FRIENDS

O#i,ilHfii#fllJ

480-965-2787

ST,U..DENTDOCENTS'::I'::.11.1.

by jennifer pringle Ilnformation specialist,

College of Fine Artsl

CFA Alumni

-

Btfr|MI.iSE

ASU ART MUSEUM DOCENTS
ASU ART MUSEUM

480-965-2787

Where are you now?

Alumni Relations wants you to get in
touch. Check CFA Alumni's website at
http://www.asu.edu/cfa/a umni or ca
480-965-8985. During Homecoming
Week'99, "Come Home to the Arts,"
CFA alumni are invited to attend a
special luncheon on (Saturday)
I

I I

November 13 from 1'l :30 a.m. to
2 p.m. at the University Club. Contact
CFA Alumni Relations for details.

ALUMNI RE,LATIONS
480-965-8985

l

l

480-965-8521

Museum exhibition is drawn.

.

fi

General Information
General Box Offices
Serving ASU Dance, Lyric Opera Theatre, ASU

Theatre and the Institute for Studies in the futs:
iJ l i': t :,i | +, i' ;:: z.: : t j lt +'t.., ::,. t','{. i t +:
i::. +

i.:

t-

-

t: t'i|

t

f :. n i.'ri - +

Season subscribers are encouraged

a,;

1 ;:.1
-

;: i

Hours: 10:30 a.m.-6 p.m., Tiresday-Friday
noon-4 p.m. Saturday
i:.;,;:":i:.,:'.;s:..:;,: 1:".:,;t':.1:;:;;;;1;i:.;1i''::

'i'it:'::i'::'l :.;j- jii

Hours: 10 a.m.-6 p.m. Monday-Friday
i0 a.m.-4 p.m. Saturday
!.i'r,.;,,.;,,j:, i;;.,f";::.,i+:::,-ir".":,+::,::;*{;-!j:.i:;..r:'-*t:j

to noti$.

us about a change ofaddress. \7e want to
keep our records accurate and keep you
informed of new developments. If you move,

Free on-campus

Emergency Messages

lots, as noted on the signs at the lot

{ffii

Physicians and other patrons expecting calls
during a performance are asked to give their
seat locations and paging devices to the
House Manager. All checked paging devices
will be monitored throughout the
performance and can be picked up from the

entrances.

please call or

write with the new information.

i:..:

.-:i ,.... ,,=,+ ...-2.t.:, 1-.lu."-,-i:: i t r.:: tj La :::

Emergency Phone Numbers

132 Physical Education Building East
Opens one hour before performance,
i;,t1,': :'t F . ;t ! i * t: :;,:; : + ii, i,3' {:r l1 l:: -';. : l:='i 1
Opens one hour before performances,
plus regular hours of 10:30 a.m.-6 p.m.

ASU Pubiic Safery: 480-965-3456
Galvin Playho :use 480 -9 65 -6447
Gammage Box Office: 480-965-3434
Lyceum Theatre Box Office: 480-965-3437
Music Theatre Box Of6ce: 480-965-3398

Patrons who need to make an emergency
phone call should contact an usher or the
House Manager for assistance. (Be sure to
leave seat

in reserved or restricted

Opens one hour before performances

Due to the disturbance to other patrons and
to performers on stage and in observance
of copyright laws, the use of cameras and
recording devices is strictly prohibited. Patrons
are also asked

to please turn offwatch alarms,

pagers and cell phones. Food, beverages and

smoking are not permitted in facilities.

Theatre and Auditorium Openings

480-965-5447 or 480-965-5360.

Gammage Auditorium: 480-965-3497
Lyceum Theatre: 480-965-6447
Music Theatre: 4BO-965-5603

Seating areas open 30 minutes before cunain time.

Lost and Found
Galvin Playho

:use: 480 -9 65

-

6447

Parking Structure 3 on Myrtle

for parking violations.

Dance Theatre/
132 Physical Education

A' .

]

Buildi

7

,'.

Lot 42 at Orange Ave . and McAll n
Parking Structure 4 at Orange Av,
and McAllister Ave.

Music Theatre (Music Building

PS3 is

only

E

T
n

Evenings and tWeekends:
riii,iltLor 3 on Gammage Pkwy.
r,i Parking Structure 3 on Myrtle Av'
ffi Lot 8 at Gnth Street and Myrtle ,,
($1 p.r hour charge)
ASU Art Museum (Nelson Fine

Arts Center & Matthews Cent,
Evenings and \Teekends:
,' Parking Structure 3 on
ffil*

Myrtle Ave

Lot 8 at Tenth Street and Myrtle

I

($1 per hour charge)
sat & sun
parking
only

il€l$n
ASU

Afts Ctr
Aft Museum

Galvin Playhouse
Dance

L

Musi(

Put together a groLrp of 20 or more family,
friends, neighbors or co-workers and save
with group discounts. They're available
for many performances. Simply call the
Fine Arts/Galvin Playhouse Box Office,

\7e cannot

Note: Visitor Parking Lot #8, which is
north of the Nelson Fine Arts Center, is
not a free lot. There is a $1 per hour
charge, even after 7 p.^. on weekdays
(Monday through Friday).

The ASU College of Fine Arts welcomes all
patrons to our performances. Seating for
patrons with a physical disabiliry is available
in all facilities and may be requested when

Group Sales

Lyceum Theatre

weekdays.

with Physical Disability

purchasing tickets. Parking spaces designated
for patrons who have a physical disabiliry are
located in all parking lots.

spaces.

Note: There is a charge for anyone
parking on campus beforeT p.m. on

Facility Policies
Patrons

r

Lv

Evenings and Weekends:

Tuesday-Friday, noon-4 p.m. Saturday

Late Seating Policy

before curtain, should go directly
'.Parking Structure 1 on Apache
Euenings and Weekends:

assume responsibility

Late-arriving patrons will be seated at the
discretion of the House Manager. It is often
impossible to seat late-arriving patrons until
an appropriate break in the performance.

Parking Structure 3 on Myrtle Av,
Lot 8 at Tenth St. and Myrtle Ave
($i per hour charge)

Evenings and Weekends:
,tilLot 3 on Gammage Pkwy. (Arrive ,a
Patrons arriving less than 30 mint :r

Please read posted signs and avoid parking

locations with your sitter!)

l-"7:;.;.1;;:,;1'.i'i';t:::;'..7;::::.?1:..j..:i{"ia:!.=tiJ7

,r

Gammage Auditorium
V/eekday (Monday through Friday' events
held during the hours of 7 a.m. to 7 p.m.
must use designated "Visitor Parking" areas
(metered or paid). Parking designated for
those with a physical disability placard or
license plate is available in all parking areas.

t:;:tt-ii.t:;::it.:{,:)i;1..,: j;:ia,:.i:';

i|tj,.:=i:,'i'i"1;:+tr;-:::z7i:..tiij!::'i:j,'].*
Opens one hour before performances

Galvin Playhouse
(Nelson Fine Arts Center)
Evenings and Veekends:
ilirLot 3 on Gammage Pkwy.

House Manager following the performance.

3

parking is available for all

weekend events, Saturdays and Sundays; and
weekday events after 7 p.m. Exceptions are
restricted, visitor/pay lots and residence hall

Phone Hours: 8 a.m.-9 p.m. Monday-Friday
8 a.m.-6 p.m., Saturday
10 a.m.-6 p.m. Sunday
Outlets open for walk-up business during
regular store hours

Z

The following are suggested parking i
for ASU College of Fine Arts facilitiei

Parkinob

t,

:.

n

Change of Address

Music Th€

Organ
Conced

TH!!!TE
PE East

*All campus parking is FREE
after 7 p.m. weekdays and
ALL daV on weekends elcePl
in restiicted, visitor/pay and
residential hall lot5, as noted
at the entrance to each lot

r