Fa111991 Bcrklcc t o y - Berklee College of Music · Fa111991 t o y A Forum for Contemporary Music and Musicians ... In a glimpse from his new book, trombonist and faculty member

BcrklccFa111991

t o yA Forum for Contemporary Music and Musicians

10 Terri Lyne Carringto~ ’83 on Growing Upand Staying Young

15 Practicing the Art of Silence

And if your fingers could talk, they’d tell you that playing the Kawai digital piano on the left

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It’s the perfect piano for the beginner, the educator or the seasoned musician. Indeed, for any-

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So when you’re looking for a digital piano, listen to your fingers, and head for Kawai.

The Master Builder

© Copyright 1991 Kawai America Corp.

FALL ¯ 1991

VOLUME ° III

NUMBER ¯ 2

Contents

ON THE COVER: Youngdrummer Terri LyneCarrington ’83 talks aboutmoving up and moving on,starting on page 10.

LEAD SHEET lay Dean of Students Lawrence E. Bethune ’71 ...... 2

BERKLEE BEATConvocation 1991 with Kakehashi, Zawinul, Haynes, and Carrington, WilliamLeavitt Memorial Concert, Berklee’s Virtual Orchestral Debut, the Changing of theBoards, and Celebrating Six Italian Summers ........... 3

FACULTY PROFILE: MILl BERMEJO ’84---JAZT. PAN-.AMERICAN STYLEVoice Department Assistant Professor Mill Bermejo ’84 has found a balancebetween her vibrant jazz spirit and her Mexico City roots ....... 8

TERRI LYNE CARRINGTON ’83: THE RHYTHMS OF CHANGE by Andrew TaylorA veteran of the jazz world and the "Arsenio Hall Show" at age 26, drummer TerriLyne Carrington ’83 is searching for a different beat ......... 10

IMPROVISING BETWEEN THE LINES by Hal Crook ’7iIn a glimpse from his new book, trombonist and faculty member Hal Crook ’71outlines the science of silence in improvisation .......... 15

THE MICROPHONE AND THE EAR by DavidMoultonUnderstanding the fundamental differences between the microphone and thehuman ear can make a fundamental difference in your recordings ..... 19

ALUM NOTESNews, quotes, recordings of note, and a special look at Alumni Weekend. 22

1991 ANNUAL FUNDAn honor roll of this year’s donors of funds, scholarships, and in-kind gifts. 28

SHOP TALKThe SPARS Digital Audio Workstation Shoot-out, MENC, and AAHE. 30

CODA: MODERN PROBLEMS by Larry Monroe ’70Professional Performance Division Chair Larry Monroe ’70 outlines some contem-porary challenges in contemporary music education ......... 32

Berklee t 0 dA Publication of the Office of Development

DirectorJohn Collins

EditorAndrew Taylor

Feature EditorsAlma Berk

Chief Public Affairs OfficerCollege News and Alumni Features

Lawrence McClellan, Jr.Chair, Professional Education DivisionMusic and General Education Features

Larry Monroe ’70Chair, Professional Performance Division

Performance Features

Ted Pease ’66Distinguished Professor, Professional Writing

Composition Features

Donald PuluseChair, Music Technology Division

Music Technology Features

Production ConsultantJudith Lucas, Director of Publications

Copy EditorStephen Melisi

Coordinator of Alumni RelationsCarrie Semanco ’86

Assistant to the Office of DevelopmentChika 0kamoto ’87

As the alumni-oriented music magazine of BerkleeCollege of Music, Berklee today is dedicated to informing,enriching, and serving the extended Berklee community.By sharing information of benefit to alumni about collegematters, music industry events, alumni activities and ac-complishments, and musical topics of interest, Berkleetoday serves as both a valuable forum for our familythroughout the world and an important source of com-mentary in contemporary music.

Berklee today (ISSN i052-3839) is published three times a yearby the Berklee College of Music Office of Development. Allcontents © 1991 by Berklee College of Music. Address changes,press releases, letters to the editor, and advertising inquiriesshould be addressed to Berklee today, Berklee College of Music,1140 Boylston Street, Boston, MA 02215, (617) 266-1400, exten-sion 438. Alumni are invited to mail activities materials suitablefor feature coverage to the chief public affairs officer; or AlmaBerk can be reached at extension 236. Submissions accepted.

LEAD SHEET

Correct ChangeDean of StLrdents Lawrence E. Bethune "71

~"~n my 25 years at Berklee, I have seen a lot of changes.The college has moved from a small building on New-

bury Street to 10 buildings spread over the Back Bay. It hasexpanded from three degree majors to 10, from one home-made recording studio to an advanced seven-studio com-plex, from 500 students to almost 3000. The list goes on.

But one of the things that has not changed is Berklee’sbelief that the student who is actively involved learns themost. From the beginning, we have tried to ensure that ourstudents are not stifled by sideline ideals, but are energizedby getting directly involved in their education. To excel, webelieve, students need to be actively performing in ensem-bles, hearing their music performed, and getting a "hands-on" education ’wherever possible. This has been one of thegreat successes of Berklee.

When I cam.e here as a student, many of my peers hadchosen Berklee because it was the best place to go for aneducation in contemporary music. They did not care thatthe school lacked some of the trappings of other colleges--such as football, student government, clubs, and other so-cial activities. In fact, for many, that was appealing in itself."Who needs college football?" we said. "What can footballtell us about the dorian mode?"

However, as the perception of musical success began tochange, Berklee changed as well. The successful musician,we discovered, must also develop skills beyond music insuch areas as social interaction, oral and written communi-cation, leadership, team-building, adaptability, and busi-ness, to name a few. More and more students began tounderstand that: if they were going to communicate throughmusic, they needed to develop and nurture a life whichincludes many other values and experiences, as well.

Five years ago, Berklee formed the Student Organiza-tions and Activities Program, expanding upon the college’smission of getting students actively involved. Berklee nowhas more than 40 student clubs ranging from professionalassociations in all instrumental areas to a soccer team--theBerklee Cats. Yes, sports at Berklee.

In addition, we have a full-fledged leadership seminarprogram. Through the Counseling Center, Career ResourceCenter, and Learning Assistance Program, we offer indi-vidual and group assistance in developing lifelong personal,career, business, and study skills.

Berklee has changed, to be sure, but the heart remainsthe same. We still believe that the best education comeswhen students !become involved.

2 Berklee today Fall 1991

Berklee b e a t

News of note

fromabouttown andaround theworld

Berklee founder and Chan-cellor Lawrence Berk withRoland Corporation founder,president, and C.E.O. IkutaroKakehashi.

Fall 1991

ENTERING STUDENTCONVOCATION 1991

Four music industry lu-minaries took the stage dur-ing Berklee’s 1991 EnteringStudent Convocation as Ro-land Corporation Presidentand Chief Executive Offi-cer Ikutaro Kakehashi, key-boardist/composer JoeZawinul ’59, and jazz drum-ming legend Roy Hayneswere awarded honorarydoctor of music degrees byPresident Lee Eliot Berk.

Drummer Terri LyneCarrington ’83 served asalumni speaker, offering in-sights and advice to the en-tering freshman class (seepage 10 for interview).

As President and C.E.O.of Roland Corporation, Ik-utaro Kakehashi has been avisionary leader in the mu-sic synthesis industry. Un-der his direction, Roland’sproducts have continually

President Lee Eliot Berk (secend from right) joins (left right) Roy Haynes, Joe Zawinul "59, and II{utaro Kakehashi.

pushed the limits of te.ch-nology as they have definednew roles for synthesis inmusic. His support of mu-sic education has also beenexemplary, as witnessed bythe establishment of the Ro-land Scholarship Fund toBerklee last year.

Alumnus Joe Zawinulhas performed and record-ed with such jazz legends asMiles Davis, Dinah Wash-ington, Cannonball Adder-ley, and Coleman Hawkins.In the 1970s, he co-foundedthe ground-breaking 5azzgroup Weather Report, andlater founded his own band,the Zawinul Syndicate.Zawinul was an early leaderin the creative use of syn-thesis in contemporary jazz.Many of his compositions,including "Birdland" and"Mercy, Mercy, Mercy,"have become jazz standards.

The journey to the Berk-

lee campus was a returnhome for jazz drummer RoyHaynes. Haynes was bornin nearby Roxbury, andgained early success as amusician in downtown Bos-ton clubs. He went on toperform and record withsuch jazz legends as LesterYoung, Charlie Parker,Miles Davis, TheloniousMonk, and many others.Haynes has inspired a gen-eration of young drummerswith his masterful, crispdrumming style. At age 65,he is far from retirement andstill in great demand.

The Convocation and theconcert that followed wel-comed the entering class ofmore than 700 students.

"It is indeed a pleasure toreceive this great reward,"said Roy Haynes in accept-ing his honorary degree."I’m even going to keep therobe and cap."

gerklee today 3

William Leavitt (1926-1990)

LEAVITI" CONCERT TO LAUNCH FIJNIDGuitarist Danny Gatton and his band will be fea-

tured performers at the upcoming William LeavittMemorial Concert to be held on November 5.

Gatton, performing through the support of Fend-er Musical Instruments, has been recognized by hispeers as one of the major talents of contemporaryguitar performance.

The concert event will raise funds for the WilliamLeavitt Memorial Scholarship Fund, named in honorof Berklee’s former Guitar Department chair andBerklee alumnus. Leavitt was the third guitarist toattend Berklee, entering as a student in 1948. Aftermany professional successes, he joined the Berkleefaculty in 1965.

His visionary leadership and his prodigious musi-cal output led the Guitar Department through theguitar explosion of the following decades. His pub-lished guitar study and etude books have sold morethan 500,000 copies worldwide. Leavitt died sudden-ly last year on November 4.

Leavitt’s insights on guitar education were a deci-sive factor in the development and growth of Berk-lee’s celebrated Guitar Department, which now en-rolls more than 800 student guitarists. He wasconsidered by many to be the most significant figurein contemporary guitar education.

Funds from the Leavitt Memorial Scholarship en-dowment will providefinancial assistance totalented young guitar-ists for years to come.

For more informa-tion on the event, pleasecall the Office of De-velopment at (617) 266-1400, extension 438. Or,donations may be madedirectly to Berklee Col-lege of Music, 1140Boylston Street, Bos-

Danny Gatton ton, MA 02215.

THE CHANGINGOF THE BOARDS

Thanks to a special ar-rangement with Sony Cor-poration, four ~.ew state-of-the-art mixing 13oards wererecently installed in four ofBerklee’s multi-track stu-dios. The upgrade also in-cluded an enhancement to adigital audio editor alreadyin use at the college.

The mixers (two SonyMXP 3020s, configured for8-track mixinl~, and twoMXP 3036s for 24-trackwork) offer a higher sonicquality and a greater flexi-bility than the previousboards. Music Production

and Engineering Depart-ment Chair David Moultonbelieves this new equipmentwill enhance the learning ex-perience for Berklee’s manyMP&E students.

"These mixing boards aremore in line with what stu-dents will encounter in theprofessional world," Moul-ton says. "They provide theflexibility and depth of per-formance we need to pre-pare students for the future."The boards were up and run-ning this August.

As with most equipmentin Berklee’s advanced re-cording facilities, all the unitswere installed and will bemaintained by Berklee fac-ulty, staff, and students.

Students work on a new Sony mixing board as faculty mem-ber Robin Coxe.-Yeldham {standing left) looks on.

BAVICCHI EARNSASCAP AWARD

Professor Jolhn A. Bavic-chi was recently honoredwith a 1991-92 AmericanSociety of Composers, Au-thors and Publishers (AS-CAP) Award. The awardwas the 27th Bavicchi hasreceived in the program’s 31-year history.

ASCAP’s panel of distin-guished author!ities selectedBavicchi on the basis of hisextensive catalog of original

compositions and the manyperformances of his works.

Bavicchi received hisbachelor of music degreefrom New England Conser-vatory of Music, and stud-ied in Harvard University’sgraduate program underfamed composer and educa-tor Walter Piston.

Selections in Bavicchi’scatalog, which lists over 100compositions, are publishedby Oxford University Pressand have been performed inthe United States, Australia,Peru, and Wales.


BERKLEE’S VIRTUALORCHESTRAL DEBUT

The newly formed Berk-lee Virtual Orchestra (BVO)will make its debut Novem-ber 17 at Boston’s NewMusic Harvest, performingthe premiere of "Concertofor Virtual Orchestra" byAssociate Professor of Mu-sic Synthesis Richard Bou-langer.

The work, scored for aMIDI trio and interactivecomputer, will feature Bou-langer conducting the Vir-tual Orchestra via the MaxMathews Radio BatonMIDI conducting surface.The concert will take placeat 5:30 p.m. in the BerkleePerformance Center.

Through traditional in-struments and advancedMIDI controllers, the Berk-lee faculty members in theBVO perform the parts ofan entire orchestra, as wellas a few very non-tradition-al musical sounds. MusicSynthesis Chair Dennis

Thurmond will performstring parts on keyboards.Woodwind DepartmentChair Matt Marvuglio ’74will handle the woodwindson a MIDI wind controller.And Percussion DepartmentChair Dean Anderson willtrigger percussion and harpsounds from a MIDI malletcontroller, a device thatlooks much like a xylo-phone.

’~The BVO combines theintimacy of a chamber en-semble with the timbral pal-ette and power of a sym-phony orchestra," saysBoulanger, who also servesas the group’s musical di-rector. "The computer playsan active role generating itsown musical ideas, at times,in response to what it hears."

After the November per-formance debut, the BVOmembers plan to continuetheir musical exploration,blending traditional and ad-vanced music technologythrough commissionedworks, clinics, and perfor-mance tours.

For the secondhalf of the program,famed British composerand former Berklee fac-ulty member Micha-el Gibbs ’88 willdirect the Berk-lee Electric andAcoustic En-semble in thepremiere of his"Jazz Suite." Thework integrates tra-ditional brass andrhythm section instru-ments with synthesizedsounds.

New Music Harvest,which will take place *:hisNovember 14-17, willpresent several premieresand performances of recentcompositions of regionaland internationally knowncomposers such as Ned Ro-rem, Michael Tippett, ElliottCarter, and others. The four-day festival will also includelectures, master classes, andpanel discussions.

New Music HarvestTreasurer and Berklee As-sociate Dean of Curriculum

NEW MUSIC

HARVEST

BOSTON 91

Robert Myers has highhopes for the event.

"Berklee’s participationin the festival will be signifi-cant," he says. "The BerkleeVirtual Orchestra andiMichael Gibbs premiereswill demonstrate the inno-vative applications of cur-:rent technology to a diver-sity of contemporary musicgenres going on at Berklee."

For more information oniNew Music Harvest, call(617) 353-5921.

NEW SCHOLARSHIPREACHES OUT

Ten Boston-area highschool musicians got a tasteof the Berklee experiencethis summer with the helpof a new scholarship pro-gram targetted specifically atinner-city students.

The scholarships provid-ed complete access to thecollege’s popular five-weeksummer program, offeringin-depth music studythrough Berklee’s faculty,curriculum, and facilities.

"This is a good experi-ence for me," scholarship re-cipient Kendra Carter-Mill-er told the South End News."It’s going to really push me.It will help me see if this isreally what I want to do."

The program is part ofBerklee’s on-going efforts toaffect positive communitychange. Berklee Communi-ty Affairs RepresentativeVincent Howell believes thescholarships are a very im-portant part.

"The problem for a lot ofthese inner-city students isnot a lack of ability but alack of access," he says."Berklee has a unique op-portunity to change that."

By all accounts, the 10scholarship recipients foundboth inspiration and newideas during their five-weekBerklee studies. Two of thestudents are continuing theirwork this semester with full-time status and full-tuitionscholarships.

According to Howell, thefirst step in this ongoing

Massachusetts Senior Election Specialist of the Secretary ofStates Office Charles Weeks (I,~ft center) meets with five-week scholarship recipients (leRto right) Joseph Rodriguez,Kendra Carter-Miller, an~l Tamara PoweR.

community outreach pro-gram was a great success.

"Berklee can nurturesome really positive chang-es in these young people’s

lives," he says. "And whenyou give them that chance,they not only live up to yourexpectations, but in somecases, they exceed them."

Fall 1991 Berklee today 5

CELEBRATING SIXITALIAN SUMMERS

Berklee’s annual two-week program in Perugia,Italy, celebrated its sixth yearthis summer with a charac-teristically enthusiasticgroup of talented studentsfrom throughout Europe.

The program, held inconjunction with the 10-dayUmbria Jazz Festival, offersin-depth instruction on con-temporary music theory,improvisation, ensembleplaying, and instrumentaltechniques in the historicsetting of Perugia, a walledhill city in central Italy.

"Since we started sixyears ago, almost 1100 stu-dents have studied in theprogram," says Berklee’sProfessional PerformanceDivision Chair Larry Mon-roe ’70, who also serves asthe event’s director. "It hasalways been a very power-

ful and positive event, witha real Berklee feeling to it."

College ConnectionsThat "Berklee feeling"comes from all sides,through the Berklee alumniwho act as interpreters dur-ing classes, through the doz-en visiting Berklee facultyand staff who are "treatedlike royalty" in the historicItalian town, and especiallythrough the well-knownBerklee alumni musicianswho take a break from theirUmbria Jazz Festival perfor-mances to stop in to visitand jam.

A highlight of last year’sprogram was artist-in-resi-dence and renowned key-board]st Joe Zawinul ’59.Two years ago, the highlightwas a spirited jam sessionwith Kenny Kirkland andBranford Marsalis ’80 bandmembers.

This year, legendary gui-tarist Joe Pass served as a

Professional Performance Division Chaiir Larry Monroe "70(left) and faculty member Rick Peckham play jazz beneaththe arch of the historic cathedral in Perugia, Italy.

Guitarist Joe Pass (left) leads a performance clinic duringthe Berklee in ]Italy program.

visiting faculty member, of-fering clinics on his ap-proaches to his craft.

Conservatory TrainingAnother highlight of thisyear’s event was the loca-tion. Classes took place inthe historic facilities of theConservatorio Statale diMusica Perugia, offeringoutstanding practice andperformance venues as wellas a unique setting.

"It was a real break-through for us to work inthe conservatory," explainsMonroe. "It "was the firsttime contemporary musichad been tauglht in this tra-ditional music institution.Their facilities enhanced theprogram quite a bit."

Due to the consistentsupport of program co-di-rector Giovanni Tomasoand Umbria Jazz ClinicsPresident Carlo Pagnotta,the Berklee program has alsobecome a launching pad fortalented students to contin-ue their studies at Berklee.This year, the event present-ed $30,000 in scholarshipsto seven talented musiciansfrom such diverse home-lands as Italy, Romania,Madagascar, and Holland.

Alumni in ActionStudents of the program alsoget the oppor~:unity to wit-ness Berklee alumni in ac-tion during the concerts of

the Umbria festival. Thisyear, the alumni presence atthe event was as impressiveas ever, including GeorgeMraz ’70, Greg Osby ’83,Marvin "Smitty" Smith ’81,Renato Chicco ’89, GeraldBrazel ’84, Frank Lacy ’81,Kevin Eubanks ’79, Miro-slav Vitous ’67, Roy Har-grove ’89, Antonio Hart ’9 I,Mark Whitfield ’87, JoeZawinul, and Jeff Watts ’81.

Also "On the Road"Perugia was not the only sat-ellite campus for Berklee’sfaculty and programs. Thissummer marked the secondyear of the Berklee in LosAngeles program, bringingmore than 100 student mu-sicians to the ClaremontMcKenna College campusin Claremont, California.

This year’s Los Angelesevent featured a concert byGary Burton ’62 and a fullweek of music study.

Finally, this Septembermarked another step in acontinuing series of seminarsin Buenos Aires, Argentina.Assistant Dean of Curricu-lum for Academic Technol-ogy David Mash ’76 jour-neyed to Argentina to leadeducational sessions in mu-sic technology. Past facultyparticipants in the series in-clude Gary Burton, guitar-ist Jim Kelly ’73, and trum-pet player/jazz compositionteacher Greg Hopkins.


SUMMER SESSIONSPULL A CROWD

Innovators, educators,and music professionalsgathered on the Berkleecampus this summer for aseries of workshops, semi-nars, and symposia. The fourevents in the Summer Pro-fessional Program series of-fered unique opportunitiesto discuss and discover vari-ous aspects of contemporarymusic technology, tech-niques, and education.

The first program in theseries focused on MusicTechnology Applicationsfor the Music Educator.Hands-on sessions in Berk-lee’s facilities helped dem-onstrate the concepts cov-ered in the daily focusdiscussions. Maior topics in-cluded the synthesizer as anensemble instrument in con-temporary music educationand the use of MIDI instru-ments in music compositionand production.

That seminar was fol-lowed by two simultaneousprograms on different as-pects of iazz. The Jazz Writ-ing Conference sponsoredpapers, panels, and clinics onseveral areas of iazz writingincluding harmony, coun-terpoint, post-bop harmon-ic applications, MIDI appli-

cations for the jazz compos-er/arranger, and others.

The Jazz ImprovisationWorkshop presented clinicson the skills and techniquesof improvisation. Billed asan intensive performanceexperience, the program de-tailed Berklee’s innovativeapproach to improvisation(for a sample, see "Impro-vising between the Lines" inthis issue, starting on page15). Faculty members in-cluded trombonist HalCrook ’71, saxophonist JimOdgren ’75, and guitaristRick Peckham.

The final program in thefour-part summer series wasthe Symposium on DigitalAudio Workstations. Thesymposium brought work-station manufacturers andusers together for intensivepanel discussions on the rap-idly growing field. Through-out the program, attendeesalso had the opportunity tosee several detailed demon-strations of high-end andmid-priced workstationsthat had been installed onthe Berklee campus.

Special guest panelists in-cluded Max Mathews, con-sidered by many to be thefather of computer music,as well as Mix magazine con-tributing editor and free-lance audio consultant MelLambert.

Music Synthesis faculty member Richard Boulanger (left)leads a panel discussion on digital audio workstations,featuring computer music innovator Max Mathews (right).

NEW CHAIR BRINGSA NEW MAJOR

In the dawn of a new de-partment at Berklee, DonaldGorder has been appointeddepartment chair for Berk-lee’s upcoming music busi-ness/management major.

Gorder will play a lead-ing role in developing thecurricula and requirementsof the new major in cooper-ation with other college ad-ministrators.

"It’s a great opportunityand I’m very excitied aboutit," Gorder says. "Berklee isthe perfect school for a pro-gram like this."

Gorder earned his bach-elor of music degree fromthe University of Nebraska,his master of music from theUniversity of Miami, and hisJuris Doctor law degreefrom the University of Den-ver. He has served on thefaculties of the University

Donald Gorder

of Denver and the Universi-ty of the Pacific, teachingmusic and courses on legalissues for musicians.

Most recently, he servedas vice president of MultiEntertainment Services inDenver. He also serves as aboard member of the Musicand Entertainment IndustryEducators’ Association. Aprofessional trumpet play-er, Gorder has performedwith such artists as TonyBennett, Sammy Davis, Jr.,Burr Bacharach, and LizaMinnelli.

BerMeeAlumni Student Referral

Help give an interes~ed, deserving young musicianmore information on Berklee by filling out this folwnand sending it to the address below.

Name

Address

City

State

Instrument

ZIP

Your Name

Send the completed form to:

Berklee College of MusicOffice of Admissions1140 Boylston StreetBoston, MA 02215

ETOD 1091


FACULTY PROFILE

Mill B errney o ’84:

Jazz Pan-American Style

Mark I.. Small "73

~’i earing Voice Department Assistant Professor MiliBermejo ’84 say that music was something she "just

had to do," brings to mind bassist Steve Swallow’s caveat:"No one should become a musician because they want to,but because they have to." Driven by a thirst for a deeperknowledge of jazz, Bermejo decided she had to leave aburgeoning performing career and her tight-knit family inMexico City to come to Berklee after a 1978 visit.

What must have seemed like agamble then has begun to pay off.In addition to her appointment as afull-time Berklee faculty memberin 1984, Mill has found ardent audi-ence support north of the borderfor her personal brand of Latin jazz.Both her Quartet Nuevo and herunique vocal/acoustic bass duo withhusband Dan Greenspan have be-come perennials at jazz festivals,clubs, and clinics throughout theUnited States, Spain, and Mexico.She has also been nominated threeyears running for a Boston MusicAward.

In September, the Mexican Pen-tagrama label released Mill Berrnejoin Concert. Bermejo’s third albumas leader, the disc is a live digitalrecording of a recent Quartet Nue-vo concert in the Berklee Perfor-mance Center.

The daughter of renowned Mex-ican singer, songwriter, and guitar-ist Guillermo Bermeio, Mili was

In her live performances, Mill Bermejjo ’84seeks a balance I~etween LatiP, and jazz.

surrounded by music and observed the life of the careermusician as a child.

"In his early years," she explains, "my father pioneeredwhat became a very popular musical style called ’trio mu-sic.’ It featured three singing guitarists one lead and tworhythm players and blended Mexican and Cuban folksongs with popular music. My father’s group became veryinfluential, and performed the soundtrack of the first Mex-

ican movie to have one."The entire Bermejo family was

soon to follow in their father’s foot-steps, beginning their performingcareers together at an early age.

"We started out singing Mexicanfolk music together as a vocal quin-tet," she remembers. "But now every-one has gone in their own direction."

Notably, each of the siblings hashad a Berklee connection at somepoint along the way. Margie ’84 iswell known in Mexico as a cabaretand jazz singer. Gladys (a currentBerklee sophomore) specializes inLatin pop and jazz. And brotherMiguel ’78 works as a jazz guitaristand singer in Mexico. Sister Luzpursued operatic training at theNational University of Mexico andBoston Conservatory, and is a cur-rent Berklee faculty member.

"My years as a student at Berk-lee were very important to my ar-tistic development," Mill says. "Likeother foreign students, I came here


with great expectations andsome fears. It is hard to leaveyour homeland. But it iseven harder to achieve yourgoals in a new country.When I got here I foundgreat teachers and classes,and a healthy competitionamong the students. Berk-lee built my passion as wellas knowledge of music."

One incident, in particu-lar, sparked her enthusiasm.

"One great experience Ihad as a student came as aresult of my receiving theCleo Laine Scholarship," sheremembers. "[Chief Public Affairs Officer] Alma Berk calledme to say that Cleo was visiting and Alma wanted me tosing for her. It ended up that Dan Greenspan and OrvilleWright and I performed for Cleo and the Berks with WGBHtelevision filming. Experiences like that in your formativestages really inspire you and help you to grow."

Bermejowith her husband, bassist Dan Greenspan:"Dan andI reduce each tune to its essential elements."

An Eclectic BlendBermejo’s diverse musical background has led her towardan eclectic pan-American style of jazz.

"The music I’m doing now blends my jazz languagewith the Argentinean, Venezuelan, Cuban, and Mexicansongs that I grew up with," she explains. "For example, Isometimes open my concerts with ’Son de la Loma,’ a tunemy father used to sing, which he learned from the Cubantroveros [troubadours].

"But I am not playing the stereotypical Latin music--salsa or bossa. My music differs from other Latin jazz inthat I frequently work in 6/8 meter. Also, the traditionalmusic doesn’t usually feature any vocal improvisation. ButI love to inject the songs with the freedom of jazz and theconversational interaction between musicians. The folkmelodies are so pure and simple that they present endlesspossibilities for jazz reharmonizations. I don’t try to becompletely authentic in my performances, or I would beplaying with different musicians."

To assist her in her musical explorations, Bermejo hasdrawn together an eclectic group of peers. The lineup inMill’s Quartet Nuevo includes pianist and Berklee facultymemberTim Ray, drummer and Berklee senior FernandoMartinez, and Bermejo’s husband Dan Greenspan on bass.

"The players in the quartet make the music very excit-ing," Bermejo says. "Working with Tim Ray is great. Hecan take a folk song and transform it into jazz. He has alsoreally picked up on the rhythms of my music."

Despite the popularity of electronic instruments in con-temporary music, Quartet Nuevo’s approach is largelyacoustic, patterned after the classic jazz piano trio.

"It’s not that I don’t like electronics," Bermejo explains."But as my own instrument has improved, I have learnedthat having more electronic musicians doesn’t give me thespace I want. The acoustic format allows the identity of myvoice and each instrument to come across."

Today, she believes, hermusic is reaching a larger au-dience than ever.

"I think Latin jazz is hav-ing a renaissance. When Icame to Boston 10 years ago,there was not half the audi-ence awareness of the musicthat there is today."

Dynamic DuoBeyond her quartet wo~,Bermejo has become knownfor her vocal/bass duets withhusband and quartet mem-ber Dan Greenspan.

"The duo format is verydifferent from the quartet," she says. "The combination ofbass and voice is challenging because, in a way, you aremusically naked. Dan and I reduce each tune to its essentialelements and try to express the. musical whole in a minimalsetting. We have to create the rhythm, harmony, and melo-dy with just two parts. As a singer, I have to be very lyricalbut still establish the rhythm. In accompanying me, Danexploits all the resources of the.’ acoustic bass--chords, piz-zicato, and arco lines. It is an intimate musical setting.

"I feel lucky to be able to work together with my hus-band. We arrived at this point without really planning it.Age and maturity have enabled us to be a successful team. Ifwe were younger, it probably would not work. We havegrown together musically and otherwise."

Speaking OutBermejo feels strongly that artists should have a function insociety as the voice of their time. In part, this grows out ofher immersion in the cultural and political excitement ofMexico City in the ’60s and ’70s. The influx of SouthAmerican artists fleeing repression made for a musical cli-mate thick with personal expression.

"I was surrounded by all kinds of artists speaking throughtheir music about things that hadn’t been expressed thatway before," she recalls. "Now when I write, I try toexpress my feelings about my time, my love, or my socialenvironment. You don’t have to be political. But I feel youshould relate your feelings about what’s going on."

In the final analysis, Bermejo believes that all of her lifeand career gambles have: paid big dividends--though she isvery clear on what those dividends should be.

"My family instilled in me a purist aesthetic about mu-sic," she explains. "So my career goals are not focused onfame and money. I believe thai: if I achieve my artistic goals,public support will follow. When you do what you have toand grow as an artist, things come around and take youwhere you want to go."

Whether performing, recording, or teaching her Berkleestudents, Mili Bermejo has always kept a steady eye onwhere she is going, and where she has been.

"My goals are to keep learnkLg and becoming a better musi-cian and to continue to enjoy performing," she says. "Thesedesires feed everything else, including my teaching." ~


The Rhythmsof Change

A jazz veteran at 26, Terri Lyne Carringtonis searching for a different beat

by Andrew

Taylor

W hen you are jamming with the likesof Clark Terry, Dizzy Gillespie, andRahsaan Roland Kirk at the age of

12, it can be a daunting task to reach still higherground. But drummer Terri Lyne Carrington’83 has always found a way. In her 15-plus yearsin the music business, Carrington has constantlysearched for new voices and new venues that willbroaden her abilities and widen her audience.

That search for growth has led her to gigswith Wayne Shorter, Pharoah Sanders, A1 Jar-reau, Lalah Hathaway ’90, David Sanborn, ClarkTerry, and Dianne Reeves. Her versatility earnedher the house drummer position on the "ArsenioHall Show," a position she left last year to maketime for other projects.

Her 1989 major-label debut, Real Life Story,was a testament to how far this young drummerhad come, mixing burning fusion grooves withprogressive jazz and even pop-oriented vocaltracks with Carrington singing lead. The albumalso showcased some of Carrington’s roster offriends and admirers, including such guest artistsas Grover Washington, Carlos Santana, WayneShorter, and Patrice Rushen.

In her early stages, however, Terri Lyne Car-rington was almost completely focused onstraight-ahead acoustic jazz. From the time she

first started hitting her grandfather’s drum set atage 7, up to her Berklee years, jazz had been herpassion and her calling.

Much of the focus was a product of familyhistory. Her grandfather, Matt Carrington, hadplayed with Fats Waller, Duke Ellington, andChu Berry. Her father, saxophonist Sonny Car-rington, served as president of the Boston JazzSociety and had some impressive performancecredits of his own.

At 10, Carrington was tagging along with herfather to local jazz clubs, sitting in with some ofthe greats. At 11, she became the youngest musi-cian to receive a scholarship to Berklee whenfounder and Chancellor Lawrence Berk heardher sit in with Oscar Peterson. She began study-ing theory, piano, and drums at Berklee, supple-menting her lessons with Alan Dawson and KeithCopeland ’73.

After graduating high school, Carrington cameto Berklee full time, where she met and per-formed with a new generation of talents includ-ing Greg Osby ’83, Kevin Eubanks ’79, and Vic-tor Bailey ’79.. She also used the opportunity toflesh out her advanced performance chops withstudy of arranging, theory, and composition.

Throughout Carrington’s career, the nationalpress has been quick to pick up on the novelty of

the young female drummer playing with the bigboys. But the musicians who have heard her playnever lost sight of the driving talent behind thepublicity. That talent secured her continued suc-cess as the years went by and the novelty woreoff. Today, the combination of innate ability andoutstanding technical skill has made her a forceto be reckoned with in contemporary music.

Terri Lyne Carrington returned to Berkleethis September to serve as alumni speaker at thecollege’s Entering Student Convocation. Con-tinuously moving on and moving up, Carringtontook a break from her summer tour with A1Jarreau and her search for a new record deal tospeak with us about her current projects, herlong-term goals, and her early years.

I wanted to do something different. I wantedto sing more. And I felt that I wanted to move inan aIternative rock direction. They wanted somerhythm and blues, which I can write. But I’m notreally an R&B singer. I can sing the songs that Iwrite. But R&B really exposes the fact that I’mnot a riff singer.

To make a long stoW short, I had a record thathad alternative music on it, and R&B, and thenthe iazz department wanted some instrumentalmusic like my first record. So it had those threedifferent elements. And the project lost focus. Sowhen we finished, nobody really knew what todo with it.

Now, I’m looking for a new record deal whereI cart do what I want to do.

he bass is like the heart-

beat of the band, and the drums

are like the blood.

Your interests seemed to have expanded dra-matically over thepast few years, from straight-ahead jazz to a broad blend of music. Whatprompted the change?

I always listened to all kinds of music whilegrowing up. It just so happened that I only playedjazz.

When I was 18, I moved to New York andstarted trying to do other kinds of gigs. The firstgig I got that was a little different was withWayne Shorter. I had been doing more acousticjazz, and his music was more fusion. Then Iworked with David Sanborn, which to me isinstrumental R&B. And I have been doing dif-ferent things ever since. Of course, on the "Arse-nio Hall Show" I played all kinds of music everynight.

I have always liked playing different things. Ijust never had any experience doing it. The moreI had experience playing contemporary music,the more I wanted to do it on my own.

Is that broader style difficult for the musicbusiness to accept?

I worked on a second record for PolyGram. Ittook me over a year to finish it. And it lost focus,because different departments wanted differentthings from me.

How is your approach different in writinginstrumental and vocal music?

With vocal music, I come up with melodiesand partial lyrics first in my head, and then I’llwrite a song from there. With the instrumentalmusic, you don’t worry about making words fitto a melody.

I almost feel that if I wrote something instru-mental, it couldn’t be as simple as if I wrotesomething that had lyrics. If it was simple andinstrumental, I would probably feel that it wasware.red down and syrupy. But with lyrics, Iwouldn’t feel that way. Lyrics make a big differ-ence. They add another color or another plane.

Also, you can do so much more with a voicethan you can with an instrument.

I feel now that lyrics are really important.Especially since I want to reach the average work-ing-class person, rather than just the jazz audi-ence. When you want reach those kind of people,it’s important to say something with lyrics. In-strumental music isn’t going to reach them.

Do you get any chance to sing outside yourown projects?

I’m not really interested in doing any othersinging. I don’t consider myself a real singer. I’mmore of a singer/songwriter. I sing the songs thatI write. And I can’t even sing all of those.

You have worked with a lot of fellowalumni--John Scofield, Greg Osby, LalahHathaway, and others. Do you all talk aboutyour Berklee connection?

Older people who have been away a longperiod of time don’t talk about it as much, likeScofield. The next generation down, like the Osbygeneration and me, doesn’t have to talk about itmuch because we were there together. We sharethe same experiences. If it wasn’t for Berklee, wewouldn’t have met. There were a lot of musiciansthat came out of Berklee during the time I wasthere who have done well for themselves. It was


part of our mutual experience, so it’s very impor-tant to us.

Then the next generation, like the Lalah Hath-aways, talk about Berklee a lot because theyrecently came from there. It is still very fresh intheir minds. So, where I would reminisce, they’restill right there.

What do you remember most about yourBerklee years?

The best experience, for me, was just beingaround a lot of people that wanted to do the samething I wanted to do. That was the first time Ihad been in an environment like that. You meetpeople that are going to be in your life for the restof your life. And that has a big impact on you.

I cherish the people that I came into contactwith. Any school setting is really a means to anend. It’s normally not the actual classes that peo-ple hold on to for the rest of their lives. It’s thegrowing experience as a human being. So that’swhat I tend to focus on.

Of course, Berklee did wonders for me as faras certain skills--arranging, writing, harmony,and so on. Before I went there, I didn’t reallyhave a clue about how to arrange or write. So thatwas great. Also, you put yourself in an environ-ment where you have competition. So you eithersink or swim.

be a major record company person. There haven’tbeen any women, really. And there haven’t beentoo many black people. So, my long, long, longterm goal is to be like David Geffen or like HerbAlpert.

What would you promote wit,6 your label?I would do things that were a little off-center

but with commercial appeal I would be the per-son that would sign Tracy Chapman, SineadO’Connor, Lenny Kravitz, Joni Mitchell, or even

What was your first break out of Berklee?I was still at Berklee, actually, when I did a

few scenes in a Harry Belafonte movie calledBeat Street. The money that I made from doingthat helped me move to New York. And I startedworking immediately with Clark Terry. I hadplayed with him when I was young. And he wasone of the first people to let me play--he broughtme to the Wichita Jazz Festival when I was 10. Sowe had a history.

But I didn’t get that gig before I moved toNew York. I called him when I got there andtold him I was in town.

Have your musical and professional goalschanged since then ?

Most definitely. When I was at Berklee, I wasmore interested in getting a jazz record deal froma label that was doing straight-ahead acousticjazz. But there you get very little money to do arecord. And they are ecstatic if you sell 40,000 or50,000 copies. That was my idea of success.

Now, that has totally changed. Now, I wantto sell 500,000 records. I know what the industryis like now, and what you need to have respect init. It’s very different than what I thought then. IfI’m going to do something, I want to do it to thenth degree. I want to make a difference. So I’dlike to try to go right to the source.

My ultimate goal is to have my own label, to

Public Enemy. I would look for music that was alittle out of the mainstream, but accessible, thatcould still sell a million records.

Do you think that there is a Terri LyneCarrington "sound"?

Probably not. A few close people that reallyknow my playing would recogni:,~e me. But I’mnot an innovator. The bottom line is that I don’twant to be. I gave up on the idea of being innova-tive. I didn’t care about being one of the greatestdrummers that ever lived once I turned 18. Be-fore that, I thought I wanted that. Now, I justwant to do things that are valuable.

These days, versatility and an accommodatingnature to band leaders really keeps me working. Iwork for some band leaders that have troublewith drummers because they are always thinkingor saying, "I know what to play here. This is itand that’s it." Whereas, I tend to bend over back-wards to try to accommodate whoever I’m work-ing for.


What is the drummer’s role in the band?Somebody once said, I can’t remember who,

that the bass is like the heartbeat of the band andthe drums are like the blood. That always stuckin my head. For the most part, drums lay thebasic carpet beneath everything. They are thefoundation. The band is really only as good as itsdrummer.

There are certain basics that you have to havetogether--time, dynamics, and so on. If you don’thave that together, then you really aren’t in busi-ness. But for the most part, the energy that youput behind the music is what moves the band.You can get away with having an adequate bass

player, an adequate keyboard player, or an ade-quate guitar pIayer. But you have to have a gooddrummer.

Does that role change when you are theleader?

For me, it changes when you are a leaderbecause you are concentrating on everything,not just playing drums. You are concentratingon how the musicians are playing their music,how the parts are being played, all of the businessat hand, and how much money you are losing.

I have yet to master being the best leader I canbe. Because you have so much on your mind that

something simple like tempo can goright out the window.

Was it a difficult transition frombeing a child prodigy to being anadult professional?

I don’t really see it as a transition atall. It just evolved. I have always beensomebody that’s concerned withgrowth. I think when you are con-cerned with that, the evolution pro-cess happens naturally and quickly.

It was probably more the press thatnamed me a child prodigy. I was al-ways the same person. It was just anatural growth process.

You said in an early interview thatchild stars can grow up and find theyhave nowhere to go. Are you afraidyou will get to that point?

I don’t think you have to get to thatpoint. I might have been saying thenthat the young talents are more likelyto remain stagnant. But I don’t feellike anybody has to become stagnant.If you are concerned with moving onall the time, personally as well as musi-cally, then that’s going to effect you.

The greatest musicians never stopgrowing. I have worked with someincredible masters. They won’t stopgrowing. They keep themselves aroundyoung energy. And they associate withup-and-coming people to keep them-selves young.

You are only as old as you allowyourself to be. Most of the older peo-ple I know are more youthful than Iam, because they found the key tokeeping themselves young. It is to keepgrowing and not become stagnant, andto do music of today instead of musicof yesterday. That’s why somebodylike Miles Davis won’t play straight-ahead anymore. Why should he? ;~


ImprovisingBetween the Liines

A major part of the perfect solo is knowingwhen not to play

by HalCrook "71

D ue to the intricate nature oft improvisation, many playerschoose to disregard the volu-

minous data available and take what Icall the "Ready, Fire, Aim" approachto soloing.

This is when you close your eyes,open your ears, blow your horn, andhope for the best. This approach hascertain obvious advantages over"thinking" about what to play, sincethere is so much to think about. Infact, it is generally regarded as the idealway to improvise, precisely because itcircumvents thinking and sets the stagefor hearing and intuition to take over.

As an exclusive method of practic-ing improvisation, however, the"Ready, Fire, Aim" approach has seri-ous limitations because of the consid-erable chance element involved. In oth-er words, maybe your hearing andintuition will produce something newand valuable today which you can learnfrom, but maybe it won’t.

Eventually, most serious students

Noted trombone player and facultymember Hal Crook 71 plays with thePhil Woods Quintet. This article is ex-cerpted with permission from his newbook How to Improvise: An Ap-proach to Practicing Improvisation,published by Advance Music.

Hal Crook (right):"The balance be-tween playing andresting need notbe equal, just mu-sical."

realize the need to organize and struc-ture their method of learning in orderto assure at least some regular progress.The "Ready, Fire, Aim" approach isright for performing. But the "Ready,Aim, Fire" approach should be usedfor practicing.


One can observe that "free" impro-visation is valid, worthwhile, fun todo, and important to experience. How-ever, improvising creatively and musi-cally within the framework of certainmusical restrictions is a more demand-ing challenge because it requires disci-pline and accuracy. Because of this, wecan develop ability in the areas associ-ated with the restrictions. This is theguiding principle of the approach I havedeveloped for practicing improvising.

For example, if I select a single top-ic or aspect of improvisation (such asrhythmic time-feel, or phrasing, ormotif development, or melodic accu-racy, etc.) and focus all my concentra-tion on that topic alone while I impro-vise, I am sure to develop more abilitywith that particular topic than if I solowithout any specific objective. Otherareas may suffer temporarily, but that’sokay because they are not being tar-geted right now. I will work on themlater. By focusing 100 percent of myattention on only one topic at a time, Iincrease my familiarity with the topicmore quickly than I otherwise would,and consequently develop ability towork with it creatively and musically.

After I have improved one area usingthis "targeting" approach, I move onto others, applying it in the same way.

One Example: Sound and SilenceMusic can be thought of as a sound/silence relationship, and thereforespace, or rest, should be considered animportant feature. We normally (andnaturally) spend much more time prac-ticing the sound aspect of this relation-ship than the silence, and consequent-ly our solos can tend to lack balance inthis area.

Even players with the minimum in-strumental proficiency required to be-gin improvising are ready to practicepacing and to learn how to use spacemore creatively and musically in theirsolos. So this is a good place to begin.

The balance between playing andresting--or any pair of opposites--need not be equal, just musical.Throughout certain sections of a soloit should be obvious that the player ispurposely controlling the use of restor space to achieve a desired balance.

Surrounding ideas with rest givesthem shape and definition, in muchthe same way a frame or border de-

fines a picture inside. It allows time forthe effects of the ideas to be heard,realized, and appreciated by the audi-ence, the band, and most of all, you--the player. Pacing is used to contrast,balance, and build toward climactic sec-tions of a solo, which can involve morecontinuous, high-energy playing.These peak points typically occur at ornear the end of a solo, but may happenin the beginning or middle, as well.Their effectiveness depends largely onhow well the solo is paced both beforeand after the climaxes are reached.

The Play/Rest ApproachOne of the most beneficial features ofthe play/rest approach is that it pro-vides the player with opportunities toexercise and maintain control over thedirection of the solo, which can easilybe lost soon after the start when youplay continuously. This approach alsocreates an ideal situation for practicingindividual topics, because resting en-ables the player to focus (or re-focus)attention on the particular topic beingstudied.

Another very important aspect ofpacing is that it allows space for inter-

PRACTICING THE SOUND/SILENCE RELATIONSHIPThe exercise below provides one

outline of how you can structure asolo while practicing. By exaggerat-ing the rest periods, you can get afeel for how you can use space to acreative advantage.

After you run through the play/rest combinations below, try a fewof your own over the same basicchanges.

Remember to wait to play on yoursecond or third impulse rather than

your first. Notice that you could playat any time, but that you are con-sciously choosing to wait until ex-actly the right time. After extendedpractice, try to move toward a morenatural sound/silence balance.

Cmaj7 A7 Dm7 G7 Cmaj7 A7 Dm7 G7

¯ ////!////!////!////[////!play ........................................................rest ........................................................................................pli~y ...................... rest ...........................................................


////! // . .I . . ..I////!////! .I . . . .I . . .play ...........................................................................................rest .....................................................play ........................................ rest .........................................

Cmaj7 A7 Din7 G7 Cmaj7 A7 Dm7 G7

.................................................................................play .....................................rest .......................................................play ..........................................................


rest ...........................................................................play .......................... rest .........................................................play ..........................................................etc.


action to occur between thesoloist and the accompany-ing players in a performancesituation, which is crucial forcommunication.

The General IdeaImprovise in tempo whilefocusing on the general ideaof pacing throughout thesolo, i.e., play an idea, rest,play, rest, etc. Use the fol-lowing harmonic settings:

1. one chord only (withunlimited duration)

2. a chord pattern (withlimited duration oneach chord)

3. a familiar tune pro-gression

4. no chords (i.e., freemelody and harmony)

Practice each harmonicsetting with accompaniment, e.g., met-ronome, comping tape, rhythm sec-tion (or another player), and also with-out accompaniment. Continue this forseveral minutes at a time. Change thetempo, keys, chords, and accompani-ment as you like, e.g., daily, weekly,monthly, etc. Use easier harmonic set-tings and tempos in the beginning forbetter results.

At first, the only objective is to be-come more comfortable and familiarwith resting during a solo. So, for now,play short (for 1 to 2 bars) and restlong (for 2 to 4+ bars) at a mediumtempo.

I advise players to exaggerate thelengths of rest when they are first learn-ing: to rest until they think it’s enough,then rest a little more, then play. Tak-ing it to an extreme will help you learnmore quickly. Later on you can restfor shorter periods.

Focus on holding back your en-trances. Play on your second or thirdimpulse to play, rather than your first.Notice that you could play at any timebut are consciously choosing to waituntil exactly the right time. Then, whenyou decide the time is right, release theplaying purposefully, with conviction.The release can be either loud or soft,active or inactive, but it should alwaysbe definite and controlled. This ap-proach helps to develop concentrationand infuse your playing with spirit andcharacter.

urrounding ideas

with rest gives them shape

and definition, in much the

same way a frame defines

picture inside.

Think about surprising the band andaudience with where and when youmake your entrances. This will drawattention to your solo. Your impro-vising will sound unpredictable--orless predictable. The band and audi-ence will pay better attention to youbecause they will realize that they don’tknow when (or what) you are going play next.

This will set the stage effectively forgreater musical interaction and com-munication between all the players in-volved, with you as the leader.

Hearing the EchoDuring each rest period, listen forthe "echo" of the previous idea inyour mind’s ear. Hearing it will en-able you to decide whether to devel-op the idea or go on to somethingnew, letting you control the direc-tion of the solo.

Initially, you might think that youare resting too much, or that resting alot is inappropriate, extreme, and evenunmusical...It does not seem like youare really improvising unless you areplaying all the time; as soon as youstop playing you are afraid of gettinglost, and so on. These are normal reac-tions if you are used to playing moreor less constantly, but it is safe to ig-nore them.

Get into resting the way you havebeen into playing. Try to becomeequally comfortable with both. Treat

it like an experiment and seewhat happens.

Resting will exposeweaknesses in your playing(as well as strengths) whichis good because you need tobe aware of them before youcan correct them. Restingwill also enable you to cor-rect them. There will betimes when you will prac-tice more continuous play-ing, but for now, concen-trate on "catching up" yourexperience of using rest con-sciously and creatively.

Not all great players em-phasize rest in their solos.Perhaps this is because pac-ing is optional (or at leastnot as necessary) for super-evolved players who are al-ready capable of doing it in-

tuitively. So, before you decide toimitate this aspect of someone’s play-ing, remember that he or she did notstart out at their current level of abili-ty. Undoubtedly, it took years of prac-tice and experience to develop.

Step by StepWhen you first begin to use this meth-od of practicing, your improvising maysound somewhat predictable, limited,or unimaginative because of the re-striction. But do not be concerned ifyour solos do not always feel or soundcomplete, like the finished product,when practicing. Eventually, they willsound much better than your usualfinished product.

Remember that you are focusingon only one aspect of improvising at atime when you practice. This challengesyou to improvise accurately and musi-cally within a limited area in order todevelop greater ability in that area. Thisis the major difference between prac-ticing and performing.

The idea is to practice what youcannot already do well. Be willing tosound bad or weak at first in order tosound good later, because that’s theonly way it ever happens. ~1

How to Improvise is published by Ad-vance Music, Maier2ickerstr. 18, D-7407Rottenburg N., Germany, and is dis-tributed in the United States by JameyAbersold, (800) 456-1388.

Fall 1991Berklee today 17

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The Microphoneand the Ear

Why recordings don’t sound like the real thing,and what you can do about it

by David

Moulton

O ur ears work st) well, goner-all)’, that we hardly everquestion them. We take for

granted that what xvc hear is what isgoing on. As a result, we are oftenstartled or disappointed when welisten to the playback of a recordedsound and discover that it is not thesound we had in our mind, or xvhatwe heard when we were puttingup the microphone in the record-. ...:![ing studio.

Often we blame the differ- <:.~ence on poor equipment (curs-ing bad microphones, scmi-pro :mixing boards, or a mischievousanalog tape), without looking at more fundamental issue: We hearthings quite differently than a mi-crophone "hears" them. Once webegin to think in those terms, it getsa little easier to understand xvhythings sound different in recordings,and what we can do to improve theh"realism and impact in a recording.

Night and DayConceptually, the microphone is a fair--Iv simple device. It consists of a very

David Moulton, an acoustical consuh-ant and develope~" of speaker zec’hnolo-g),, chai~’s Berklee’s Music" Production& Engineering DcTartment.

We hear thingsquite differentlythan a microphone"hears" them.

delicate diaphragm suspended in airthat moves back and forth due to airpressure changes (sound waves). Thatdiaphragm is connected to one of sev-eral different electromagnetic mecha-nisms thai converts the motion of thediaphragm to ate. alte,’nating electricalcurrent. Tha~ current flows in a cablecom~ccted to the mixing console, andbecomes the basis for the audio signalthat we will process, record, and ulti-mately send to a loudspeaker, where it


will be converted back to sound, andvoila! We have audio!

On the other hand, the ear is a verycomplicated device. It consists of a verydelicate diaphragm suspended in airthat moves back and forth due to airpressure changes (sound waves). Thatdiaphragm is connected, via a fairlyelaborate mechanical link, to a remark-able organ called the basilar membrane.At the basilar membrane, the mechan-ical motions are converted to neuro-logical impulses that are sent to ourbrain. There, along with some otherthings, it is presented to our consciousmind, and voila! We hear sound!

Sounds similar, right? $o,what are the differences be-tween the microphone andthe ear? And how do thosedifferences affect our ap-proach to the recording pro-cess?

The DifferencesThe most obvious differenceis that the microphone has asingle input and output. Ithas only one diaphragm andone microphone cable. Rightoff, we know that we havetwo ears. A big part of whatgoes on in the brain is theintegration of the data fromboth ears into a single im-pression or illusion. This is, of course,why stereo recording has worked outso wonderfully.

Unfortunately, even two micro-phones do not compensate for this dif-ference, because the mixing console isnot a brain. Furthermore, the formatof the data is vastly different. Eachmicrophone has a single output--a sin-gle electrical waveform traveling downa wire. However, each basilar mem-brane has about 30,000 outputs (ornerves), each carrying pulse data abouta specific audible frequency.

Another important difference liesin the physical structures themselves.The equivalent part to the microphonediaphragm in the ear is the eardrum, ortympanum. The eardrum lies at theinner end of a tunnel coming in throughthe skull from the outside world. Itconsists of a thin membrane stretchedacross the end of the tunnel. Past it isthe middle ear, a hollow cavity.

Like the microphone diaphragm,

the eardrum vibrates in response tosound waves coming into the ear. Un-like the microphone diaphragm, it cioesnot just sit there and take it. Instead, itcontracts or relaxes (it is actually sup-ported by a muscle) in response tosignals from the brain regarding howloud the music is, effectively turningup or down the intensity of so~Jndreaching the basilar membrane. Mean-while, the brain compensates for thislevel adjustment so that we do not con-sciously hear these changes takingplace.

Another important point about theouter ear is directionality: The micro-

phone cannot detect which directionany given part of the sound is comingfrom; the ear can. As sound enters theouter ear, tiny reflections of the soundbouncing off the pinna (the flap ofskin surrounding the ear canal) recom-bine with the direct signal to createvery complex and distinctive interfer-ence patterns at very high frequencies.Each different angle of arrival of asound yields its own distinctive andaudible pattern, and the brain uses thesepatterns to determine the source of asound element. Of course, the differ-ences in sound and time between thetwo ears are also used to help localizethe sound in space.

The microphone, on the other hand,can only detect an amalgam of all thesounds arriving from all different di-rections. Some directional microphonedesigns (like cardioid and bidirection-al) "turn down" the volume of somesounds coming from some directions.But they have no way to actually dis-

criminate the direction of the arrival ofa given sound: from the left, fromabove, from behind, and so on.

Our directional ability also allowsus to differentiate sounds we want tohear from background noise, some-thing a microphone simply cannot do.

Time and SpaceSo far, we have seen that the humanear can figure out where a sound iscoming from, that it has a built-in au-tomatic level control, and that at thebasilar membrane it converts the soundwave into 30,000 or so neural signals,each representing a single frequency.

But that’s not all. The earalso does some remarkablethings with time (and direc-tion) that are far beyond thecapacity of any microphone.

The primary time-basedtrick that the ear does is

ro called the "precedence ef-fect" (also known as the"Haas effect"). In order tokeep us from being hope-lessly confused by early re-flections of sounds (the au-ral equivalent of a fun-housemirror-room), the ear inte-grates such early reflectionswith the original sound, sothat they are not heard asreflections or echoes, but as

part of the timbre of the original.The microphone, on the other hand,

simply sums the original sound and allof its reflections over time. This cre-ates a kind of interference pattern called"comb-filtering" that imposes yet an-other timbre on the sound--a timbregenerated by the room.

So, when we hear a sound in a room,we perceive the interference patternscaused by the room as merely a richerand more satisfying version of thesound itself. The microphone process-es only the interference patterns, with-out capturing the richness we perceive.

For this reason, recording studiosoften feature extremely absorptiveacoustic treatments that minimizeacoustic reflections.

The Messenger and the MessageAnother oddity to mention is the waythe auditory nerve works. The audito-ry nerve is the bundle of nerves carry-ing information from the 30,000 or so


nerve endings in the basilar membraneto the brain. Unlike a bundle of audiocables, the individual nerves are notinsulated from each other. In fact, thesenerves interact as impulse data travelsfrom the ear to the brain, actually pro-cessing the information en route.

The result is that the informationreceived at the brain is a lot differentfrom the information sent from thebasilar membrane. As a comparison,think of a sound reinforcement systemwhere much of the mixing and equal-ization occurs in the bundle of micro-phone cables before the signal reachesthe mixing console!

One final attribute of theear to consider is the natureof its frequency response.That response is not thesame for all frequencies. Wetend to hear low frequen-cies less well than mid-rangefrequencies. And we havetroubles with extremely highfrequencies, as well. But, thatresponse behavior changesdramatically with the over-all loudness of the signal.

As levels get softer, lowand extreme high frequen-cies get softer at about twicethe rate as mid-range fre-quencies. This is what the"loudness" button on yourstereo receiver is supposed to com-pensate for. When you are listening atlow levels, you push the button and itboosts bass (and sometimes extremetreble) to compensate for this effect.

So What?So, clearly, the ear is far more complexthan the microphone. We cannot rea-sonably expect the microphone to de-liver anywhere near the kind of infor-mation that the ear does. So what?How can we make use of this insightin the studio ?

The first thing we can do has to dowith microphone placement and di-rectionality. While the ear manages toseparate our sense of room reflectionsfrom the direct sound of the instru-ment, the microphone cannot separatethe two at all. Therefore, you have toplace the microphone closer to the in-strument than your ears think is rea-sonable. This will reduce the relativeloudness of the room reflections picked

up by the microphone.Of course, this presents other prob-

lems. If we get really close to the in-strument (within a couple of inches,say) the microphone no longer can"hear" the whole instrument, and thetimbre will sound different than youare used to. For an example, listen to aviolin from one inch above the bow,near the bridge, or stick your headinside a kick drum, and you will seejust how dramatically different soundsfrom those perspectives are.

Another solution is to use a direc-tional (cardioid) microphone, whichwill reduce the relative loudness of

room reflections. Then you may beable to back the microphone away fromthe sound enough to hear it more rea-sonably and accurately.

The Rule of ThreesThe next approach has to do with in-terference between microphones.Again, our ears (and brain) have nu-merous ways to process the informa-tion coming from two different points.The mixing console has no such capa-bility. This means that it is fairly im-portant to keep interference betweenmicrophones under control.

The standard procedure here iscalled the "rule of threes." This rulesimply states that when you are talk-ing two different instruments of simi-lar loudness, you should place eachmicrophone at least three times fartherfrom the other instrument than it is toits intended instrument. In otherwords, if you are recording a saxo-phone with a microphone one foot

away, that microphone should be atleast three feet away from any othertalked instrument of similar loudness.If tile sources have different levels (akick drum. vs. a flute, for instance), therule of threes doesn’t work very well.

Listening I.ike a MicrophoneThe third thing you can do, odd as itsounds, is to learn to "listen like a mi-crophone." Learn to listen to the soundof the room (listen in between thenotes, to everything but the music),and learn to detect the colorations theroom is causing. This takes practiceand can diistract you from your musi-

cal efforts. But it may beworth it if you are interest-ed in recording realisticsounds.

The fourth thing we cando is to use stereo. Fromthis article, it should be fair-ly clear why stereo works(for more, see "Realities ofthe Stereo Illusion," Berk-lee today, Summer 1990,pages 19-22). Stereo at leastbegins to fill in some of therichness of detail that ourears and auditory systemcrave. The simplest way touse stereo is to use two goodmicrophones placed a fewfeet apart. You will have to

giw." up some other things if you dothis, but it may be worth it.

Finally, you should try to be awareof what is going on. Do not make thecasual assumption that a microphoneis like an ear, because it really is not. It"hears" in fundamentally differentways than ears do, and that is a majorpart of the., reason that recordings sounddifferent than the real thing. The mi-crophone fails to pick up informationthat we routinely and unknowinglyprocess all of the time.

In recording, therefore, we shouldmake sure that we include enough ofwhat the ear expects to hear. This isdone by intuition, by using your ears,by modifying the sound (through mikeplacement, through equalization,through reverberation, or whatever)until you can say, "Yeah, that really isan acoustic guitar!"

That essence, that feeling, and thatsense of reality is what recording isreally all about. B


Alum n o t- e s

Compiled by

Carrie Semanco

"86

Bassist Michael Manring’79,a recent visiting artist clini-cian at Berklee, released hissecond solo album, DrasticMeasures, for Windham Hill.

Attorney Kenneth E.Calkins, Jr. ’59, practices lawin Glendale, CA, and playslead alto in the VerdugoSwing Society.

Richard Myron Milgram’66 is president of the schoolof music at the ShorelineSchool of Art & Music inBranford, CT.

Richard Prelate, Jr. ’70,plays double bass for theMilwaukee Symphony Or-chestra.

Guitarist, arranger, com-poser Steve Tarshis "73 tours

and records with the Trip-lets, signed to PoiyGram/Mercury. The group has ap-peared on the Rick Dees andJoan Rivers televisionshows. Steve also performsin New York with bluesband Nine Below Zero.

Pianist/vocalist Mary M.Morgan ’75 performs in a va-riety of musical settingsthroughout the northeastand Bermuda, appearing atmany of Boston’s finest ho-tels and on the "Today" and"Good Day" televisionshows. As assistant musicaldirector for Harvard Uni-versity’s Hasty PuddingTheatricals, she backed BetteMidler during her perfor-mance at the Woman of theYear award ceremony.

Nicholas Patrick Puin ’75is director of vocal music forpublic schools in MapleHeights, OH. Nicholas alsofreelances as a professionaldrummer~ arranger, compos-er, and private teacher. Re-cent projects include a coun-try/western album withsinger Dew Watson for Boldl/Caprice Records.

Los Angeles drummerWally Stryk’75 performs withDon Preston, F,d Mann, KeiAkagi, and Eric Reed. Wal-ly received a master of finearts degree in jazz perfor-mance from California In-stitute of the Arts.

Composer Misha Segal’76 won an Ernmy for hiswork on the ABC televisionafter-school special "An-

Misha Segal "76

drea’s Story," and wrote andscored music for the featurefilms The New Adventuresof Pippi Longstocleing andPhantom of the Opera.Misha also has a long list ofalbum credits as composer,arranger, and/or producerfor labels such as Arista,Enigma, Atlantic, GRP, andRCA. His first solo albumon BMG, with guest solo-ists Chick Corea, FreddyHubbard, Mark Isham, andGrant Geissman, is sched-uled for January release.

Jazz/blues guitarist GerryBeaudoin ’77 teamed up withDuke Robillard, former gui-tarist for the group Room-ful of Blues, last January inMaynard, MA. Gerry issigned to Roseboy Recordsand recorded his second al-bum for that label with sax-ophonist Rich Latielle, alsofrom Roomful, in June.

Pianist Bill D’Andrea, Jr.’77 performs with fellowalumnus Bob Tiberi ’77 in thecontinued on page 24


ALUMNI WEEKEND 1

Alumni Weekend 1991 brought more than100 back to the Berklee campus to reunite

with old friends, meet new ones, reminisceabout Berklee’s past, and learn about its present.Major events in this "Revolutionary Reunion"included a reception at the historic Boston TeaParty ship, tours of the Berklee campus, animpromptu jam session, and an evening cock-tail/dinner reception.

Below: Alumni Relations Coordinator Carrie Semanco’86 (left) aboard the Boston Tea Party ship withBoston Alumni Group members (] to r) Dave Medeiros’82, Lenny Cole ’87, Yumiko Matsuoka ’89, MaryMorgan ’85, Jeannie Deva ’75, Joe Scoglio ’74, andJoey Cardello ’66.Right: (I to r) Kevin Dixon ’85, David Semanco ’80, andTom Love ’82.Below Bight: In keeping with the "revolutionary"theme, alumni toss tea from the Tea Party ship.

991: A REVOLUTIONARY FtEUNION

a flute solo during the alumnijam session with backing from(I to r) Bob Folse ’89, RichardZellon ’83, and Tom Stein ’88.Above: Dave Friedman ’86enjoys the alumni dinner withtwo guests.Right: Michael Contreras ’81sings lead with Kevin Dixon’85 and Tony DiMito ’89.


CLASS CONNECTII~NSWell, summer has

flown by, as it usuallydoes, and Berklee prac-tice rooms are onceagain noisy until thewee hours of the morn-ing. Although it alwaysseems like summer’s funends much too quickly,there is also a feeling ofrelief when fall rollsaround and we returnto a more structuredschedule of work and Carrie Semanco: Alumniiclasses, club benefits could be a bo-.

Lately, many Berk- nus for us all.lee alumni have been in-dicating that they would like to see more structure inalumni programs, as well. One request that keepspopping up is that we investigate a dues-paying ap-proach to forming regional clubs, and possibly anational Alumni Association. Alumni who join bypaying an annual fee would receive benefits beyondthe obvious networking opportunities of currentalumni events.

Suggestions for additional benefits have rangedfrom use of some Berklee facilities for Boston-areaalumni to discounts on national music magazine sub-scriptions, products at music-related businesses, andindustry trade show registraton fees. The idea hasmet with overwhelmingly positive approval from dubcommittee members who believe that offering tangi-ble benefits will help build regional alumni support.

Establishing a package of benefits for Boston-areaalumni could be a relatively easy task. But organizingworthwhile perks for alumni in other parts of thecountry may take a bit more legwork.

How can you help? Let us know if you have ideasfor benefits that would have broad appeal to alumniin your area, or nationally. Also, if you run or workat a music-related business that would be interestedin offering club benefits, let us know. Such programscan also serve a business well, drawing in valuableclients from Berklee’s vast and talented alumni body.

Individual club committees will be meeting thisfall to review suggestions from their areas and to do alittle brainstorming of their own. Who knows, withyour help, the Berklee Alumni Card may soon be-come the "gold card" of the music industry.

If you have ideas for Alumni Association benefitsin your area, write to me at the Alumni RelationsOffice, Berklee College of Music, 1140 BoylstonStreet, Boston, MA 02215, or call (617) 266-1400,extension 479.

--Carrie Semanco "86Alumni Relations Coordinator

group Wall St. Bill also freel-ances throughout Connect-icut and the Tri-state area.

Linda $. Dul~m Rollinson"77 plays trombone and ar-ranges for the HennikerCommunity Band. Lindaalso appeared in a produc-tion of Godspell at NewHampshire College inManchester, NH.

Lynda $. Schiff ’77 lives inWellesley Hills, MA, whereshe is an independent con-sultant for technical train-ing and technical writing.Lynda is also a past presi-dent of the National Societyfor Performance and In-struction.

Eric Lilley ’78 leads theDenver-based jazz groupYou Guys.

Professor of psychologyat Penn State University, Dr.Julian Thayer’78 has lecturedand written extensively onthe subject of psycho-acous-tics and is considered a lead-ing authority on the psycho-logical effects of music.Julian also finds time to playacoustic bass with the con-temporary jazz sextet PaulSteven Ray, based in NewYork.

Marc Finke4stein ’79, amusic teacher in Toms Riv-er, NJ, and his wife Carolproduced a children’s albumfor Melody House Compa-ny this past summer. Marcrecently received a master’sdegree from Rutgers Uni-versity.

A resident of LongBeach, CA, Albert W. Giese-man, Jr. "79 works as a staffattorney for A&M Records.

Jonathan R. Lax ’79, assis-tant band director at Bayo-nne High School in Bayo-nne, NJ, performed acomposition by Ralph Moore’7~ at a faculty recital withfellow alumni Tony DeCicco"79 and Larry Lankston "82.

Paul Seymonr ’79 lives inHouston, TX, where heworks on audiovisual

projects, arranges, and per-forms in his church’s Gos-pel Quartet.

Former faculty memberJames K. Barto ’80 and part-ner Tom Wisnosky own andoperate Phase Productionslocated in Yardley, PA.James wrote the theme forthe New Jersey NightlyNews and he and Tom pro-duced materials for New Jer-sey and New York publictelevision stations.

Rev. Holt M. Vaughn "80,ordained in 1986, authoredtwo evangelical Christianbooks and recorded tworock/fusion gospel albums,The Place of Glory and NoSympathy for the Devil.Holt also founded and runsEastco Pro Audio/VideoCorporation in Buffalo, NY,where he lives.

Guitarist, songwriter,producer Michael Contreras’81 co-wrote the songs "HotLittle Number" and "Break-up Town" with QuentinJones. Both songs were re-corded and released byQuentin Jones and the Tran-sient Band on BronsonRecords. Michael is also aBerklee alumni representa-tive for the college’s Admis-sions Office.

Albin David Hons, Jr. ’81,of San Diego, CA, was or-dained a priest last June.

The new CD from tenorsax player Scott Robinson’81,Winds of Change, receivedfive stars from Down Beatmagazine. The album fea-tures the talents of Niels LanDoky’84, Ira Coleman, KlausSuonsaari ’84, Terri Lyne Car-rington ’83, and BobbySanabria ’79. Scott’s quartetperformed at the Smithso-nian Institute as part of the150th anniversary celebra-tion of the saxophone. Healso appeared at Radio CityMusic Hall with Ella Fitz-gerald and Louie Bellson.

Vocalist Kris Adams ’82 ison the faculty of New En-


gland Conservatory exten-sion division where sheteaches private lessons anddirects the vocal a cappellaensemble. Specializing injazz and popular vocalstyles, Kris has performedand/or recorded with theVin Mitchell Band, Talkingwith Drums, Haiku, Gray-son Hugh, as well as on jin-gle/demo projects through-out New England.

Carl Coan "82 lives inMesa, AZ, and is busy writ-ing two compilations ofworks by saxophonists DaveLiebman and MichaelBrecker.

Glenn Edward Ochenkos-ki ’82 lives in Burbank, CA,backing such performers asthe Platters, Jody Watley,and Yakov Smirnoff. Glennworks as a studio drummerand has appeared in manyDisney movies, most recent-ly The Rocketeer.

David Story ’82 lives inHamilton, Ontario, wherehe coordinates the Canadi-an Youth Electronic World-beat Ensemble, a studentgroup performing at festi-vals and concerts through-out North America.

David Twiss "82 wrote anddirected the original operaThe Fury’s, which premieredat the New Players TheaterGuild in Fitchburg, MA.

Phil "Field" Allen-Stine ’83enjoyed a six-week stint atthe Taj Mahal hotel and ca-sino in Atlantic City, NJ,last October as lead singerfor the top-40 group Fun-hess. Field recently joinedthe group Alcazar.

German jingle singerMelina Bruhn "83 won firstprize on the German talentshow "Hut ab!," perform-ing her own song "BubbleGum Love."

Vocalist/composer/ar-ranger Randy Crenshaw "83performs with the Los An-geles a cappella group VocalMotion

MELISSA FERRICK "90For singer/songwriter Melissa Ferrick

’90, it was a single, sudden, and surpris-ing step from small Boston coffeehousesto major arena performances.

In late June, she was low on savingsand searching for a job. By late July, shehad performed stadium shows at GreatWoods in Massachusetts, MadisonSquare Garden in New York, and Wem-bley Arena in London, all as opening actfor folk-rocker Morrissey.

The break came when Morrissey’soriginal opener, folksinger Phranc,pulled out of tile tour. Impressed byFerrick’s demo tape, Morrissey decidedto give the unsigned artist a try. In notime, she was performing for audiencesof 10,000 and up.

"I know it’s scary but I don’t feelscared," Ferrick told one reporter be-fore her New York show. "I’m just go-ing to be myself."

Recent projects for com-poser Steven Dillman "83 in-clude music for videos forHallmark and Ambassadorcards, United Telecom, andYellow Freight, and jinglesfor Buster Brown Shoes andPioneer Seed. Steve alsogives lectures on music forvideos at the University ofKansas near his home inKansas City, MO.

John (Scott) Hoffman’83 ofDunwoody, GA, works asa drum technician for theband .38 Special.

John Taylor Kent ’83 hasrelocated from Alaska to SanDiego, CA. John recentlymastered the title track anddance sequence for a docu-drama entitled Bump andGrindstone.

Noah Osnos "83 is a senioreconomist for ASCAP,where his focus is licensing

and survey issues for writ-ers and publishers.

Trumpet players Paul To-mashefsky "83 and BarbaraHall ’88 both perform withthe Boston brass quintetQuintessential Brass.

Donald George Breithaupt’84, creative director forGreen Dolphin Music inToronto, Ontario, co-wroteand co-produced the CD-only release Once More withFeeling by Rikki Rumball,now climbing the Canadianadult contemporary charts.

Vocalist Lynne Fiddmont-Linsey ’84 co-produced andcomposed many of the cutson her new CD entitled Lin-sey-Perfect Love releasedthis year by Virgin records.Lynne’s extensive experi-ence as a back-up vocalistincludes recordings andtours with artists such as

Anita Baker, Lou Rawls, JoeZawinul ’59, Phil Collins,Ivladonna, Nancy Wilson,Kim Carnes, and many oth-ers. She has also appearedon the Byron Allen and Ar-senio Hall television shows,backing Whitney Houston,Stevie Wonder, Rick Astley,Jasmine Guy, Vanessa Wil-liams, and Carl Anderson.

dessica Freehling ’84 is aguitar teacher and an assis-tant manager for Arts Mu-sic Shop in Montgomery,AL.

Guillermo Nojechowicz’84 leads the Boston-basedBrazilian-rooted Latin jazzgroup E1 Eco. Other alumniin the group include Eduard0Berinstein ’84, Hello Avles’91,ll.ynette "Angel" Gittens ’91,and Naoki Matsuura ’90. Thegroup appears frequently attop jazz venues in Boston.


BARFor most of the

Berklee alumni I speakto on the phone or atalumni events, time is arare commodity. Manyof you have expressedan interest in assistingthe college in its admis-sions efforts. But as ac-tive professionals, youjust don’t have the time.

We are extremelygrateful for the manyalumni who find thetime to be members ofthe Berklee Alumni

REPORT

Rich Adams: A little timecan make a big difference.

Representative (BAR) program, meeting with musicstudents and educators worldwide. Last year, BARmembers made large persona1 commitments, meetingwith more than 28,000 student musicians in highschool music departments and guidance offices. Theseefforts have significantly helped BerkIee maintain ahigh level of awareness among potential students.

But, understandably, not everyone who wants tohelp can find the time to be an active BAR member.With this in mind, we have begun to expand theboundaries of the program to include more short-term opportunities for alumni to lend a hand.

Such opportunities may include representing Berk-lee at one or more local college fairs, assisting theAdmissions Office at receptions held for prospectivestudents, or phoning applicants living in your area toanswer general questions about Berklee.

For such an expansion to succeed, it will take somecareful planning on our part, and some creative inputfrom you. So, during this academic year, we will bebuilding up the program and looking for ideas. In themeantime, if you would like to receive more informa-tion and an application to the BAR program, simplyfill out the form on page 27 and check the BAR box.

Of course, even if the expansion of the BAR pro-gram does not include you officially, there are stillways for you to make a big difference. Many of youteach privately and may have students interested inBerklee. Others perform regularly and are asked aboutBerklee by fellow musicians. However you find your-self sharing your past Berklee experiences, you mayalso want a better picture of Berklee’s present.

We will be happy to send you a Berklee Admis-sion Packet. Also, I can answer questions about cur-rent college developments. Just call me using the toll-free admissions number at (800) 421-0084. With yourhelp and continued BAR support, Berklee’s futurepromises to be as rich as Berklee’s past.

--Rich Adams "82Alumni Admission Coordinator

Saxophonist Leigh Pilzer"84 backed Johnny Mathis atthe John F. Kennedy Cen-ter for the Performing Artsand Diahann Carroll andTony Bennett: on the nation-ally broadcast public televi-sion special "A CapitolFourth." Leigh performsregularly with the Washing-ton, D.C., group the BadBroads of Bebop with alum-na Sheryl Bailey "88.

Guitarist Rick Schettino’84 is editor of New EnglandPerformer magazine andperforms with the DigneyFignus Band.

Former faculty memberCamille Schmidt’84 got mar-ried last August and lives inAntioch, TN, where sheworks as a le.ad and back-ground vocalist and doesvocal arranging, demos,volce-overs, jingles, andcharacter voices.

An original R&B vocaldance tune by guitarist/songwriter Susan EileenBrna "85 is featured on the1990 CD Fingerprints onM&N Records. Susan livesin Atlantic City and hasformed a duo called FirstImpressions with synthesistJames Thomas.

Tony Hayes’85 teaches pi-ano and woodwinds at theFaunt School[ of CreativeMusic in Glei~dale, CA.

Scott and Christine Dent6’87, known as the duo Outof the Grey, released theirdebut album for SparrowRecords this past June.

Violinist Jason ~arsh ’87received his master of artsdegree in music from SanJose State University.

Singer/songwriter Edwin"Ted" Schempl~ ’87 of Wake-field, MA, co-produced thealbum Welcome the Bride-groom with fellow alumnusAndy Pinkham "82.

Maureen Spranza "87 isstudying for her master offine arts degree in electronicmusic and recording media

at Mills College in Oakland,CA. Maureen plays saxo-phone in the funk groupSquid, appears on Fred Lon-berg-Holm’s CD Theory ofMotion, and works at Rus-sian Hill Recording studioin San Francisco.

Berklee Alumni ClubCommittee member Ste-phen Ward "87 is currentlyan audio instructor at theCenter for the Media Artsin New York City. Stephenalso works as a freelanceproducer/arranger.

Paul "Buzz" Burrowes "88was assistant engineer for thealbum Are You Okay? byWas (Not Was), on Chrysa-lis. The album was namedone of the top R&B/soul al-bums of 1991 in this year’sDown Beat Critic’s Poll.

Saxophonist, composer,and producer Warren Hill ’88released his debut album asa leader for RCA/Novus en-titled Kiss under the Moon.Warren can also be heard onrecordings by Chaka Khan,C.C. Diva, Lisa Taylor, LaRue, and Kim Basinger, andon the soundtrack for thefeature film FX II.

Stefan dorg Gaspar’88 re-ceived his master’s degree inbusiness administrationfrom Duke University.

Andres Levin ’88 and Ca-mus Celli ’88 co-producedand co-wrote six tracks forR&B artist Mica Paris’ newalbum entitled Contributionon Island Records.

Composer David P. Be-dard "89 was awarded a grantfrom the Massachusetts ArtsCouncil which will fundperformances of his works.David also owns and oper-ates D.P. Graphic Design inDanvers, MA.

Studio drummer andteacher Carsten Sonderskov’89 lives in Jyllinge, Sweden,and is currently recordingwith the band Ladies First.The group will be on tourthroughout the fall.


Tony Felos "89 owns andoperates Prophet Sounds inStoughton, MA. Tony andhis wife Cherie co-wrotemany of the cuts on theirCD Spinning Jenny, whichalso features Berklee studentguitarist Christian Walsh.

Saxophonist Brian KingNels0n’89 performs with theband Perfect World alongwith trumpeter Scott Aruda’86, current Berklee studentWarren Grant, Doug Gle-ner, Dimitri Fane, and Au-relle Baldini-Renard. PerfectWorld was a finalist in tele-vision’s "Star Search" com-petition and surpassed 7000other bands in Musicianmagazine’s Best UnsignedBand in America tribute.

As staff composer forVerit~ Music in Boston, MA,Christopher Rife ’89 has com-posed commercial music for

New England Telephone,Purity Supreme, the state ofConnecticut, WGBH tele-vision’s Nova series, and thenetwork promo for the Sci-Fi channel.

Scott Sheriff ’89 recentlyjoined the group Allies, aChristian rock band record-ing their seventh album onthe Day Spring label.

August Watters ’89 worksfor the Christian ScienceBroadcasting Center in Bos-ton as an orchestrator andarranger. August has orches-trated theme and program-ming music for the MonitorChannel. August also offersFinale-user support in theBoston area.

Andrew R. Jennison ’90lives in Jersey City, NJ, andworks as a production co-ordinator for Russo/Grantham Productions in

New York, writing and pro-ducing music for televisionand radio commercials.

Paige Lesniak ’90 worksas administrative assistant/receptionist for the personalmanagement firm Addis,Wechler and Associates,representing Sting, BranferdMarsalis ’80, Michael Perm,and Nicholas Cage. Paige isalso vocalist for the alterna-tive dance band Bipeds.

Deborah Phillips ’90 ispursuing a master’s degreein business administration atthe State University of NewYork at Binghamton, NY.

Nee Ouaison-Sackey ’90performs with the Newven, CT, band R.P.M.

Robert E. Gutermuth "91owns and operates Gute’sStudio in Boston, MA.

Saxophonist Antonio Hart’91 released his debut record-

Antonio Hart "91

ing, For the First Time, onRCA/Novus. The albumfeatures faculty member andsaxophonist Bill Pierce "73and trumpet player/alumnusRoy Hargrove ’89.

Michael Robert Kalember"91 is a senior sound man forthe Singapore BroadcastingCorporation and workspart-time as director of thecomputer music program atthe City Music School, alsoin Singapore.

ALUM NOTES INFORMATION FORM

Full Name

Address

City

gi This is a new address.

Last year you attended Berklee

Professional Identity

Professional Address _

City

State ZIP ....... Home Phone

Did you receive a ~ Degree ~ Diploma?

State ZIP ............ Work Phone: # .....................................................................

Your title/rolePlease list any professional activities, performances, recordings, notable music projects, awards, recognitions, orother events you would like us to know about (please print or type):

~ Send me more information on the Berklee Alumni Representative program (see "BAR Report," page 26).~ Send me more information on becoming a Berklee Career Network advisor.

Please send this form, along with any publicity, clippings, photos, or items of interest to:Berklee today, Berklee College of Music, 1140 Boylston Street, Boston, MA 022i 5. We look forward to hearing from you.


Annual Fundhe college is extremely grateful to thealumni, parents, and corporations listed

here who have chosen to support Berklee’s pro-

grams. Gifts of in-kind equipment and instru-ments, scholarship funds, and the annualare used to provide scholarships to talented and

deserving students, the finest musical instru-ments for teaching, and the best possible facultyand staff instructors. This listing includes allgifts received on or before May 31, 1991. Alllater gifts will appear in the 1992 listing.

ALUMNI GIFTS ContributorsMr. Michael Abraham ’83

Encore Circle Mr. Roberto Abraham ’81 +Mr, Joe Williams ’88 {H) Mr. Oscar Acevedo ’83 +

Mr. John Amoroso ’88Producer’s ClubMr, Carlo Pagnotta ’90 (H) Mr. George Anzuoni ’73

Mr. Jorge J. Asencio ’82Leader’s Club Mr. Michael A. Aubin ’83Mr. Eddie Horst ’85 + Mr, Rando oh Austill ’77 +Mr. Stifling M. Pitcaim ’85 + Rev. Nishan Bakalian ’78 +

Mr. Ronald Baotista ’80 +Player’s ClubMr. I~ ;helle M. Barboza ’87Mr. William Bishoo ’77 + Mr. Charles Bascome ’73Mr. Camilo Donier ’81 Mr. Clarence S. Bean ’76 4-Mr. David Edelstein ’87Mr. Wilson Bent ’80Mr. Mark Eliasof ’78 t- Mr. Peter Bernhard ’84Ms. Keiko Kishi ’84 + Mr. Arthur Biscoglio ’66 1.

Mr. John Lee Mr. Lou Bisso ’80 ÷Mr. Richard Lucas ’80 + Mr. Peter C Blayney 90Mr. Yusuf M. Mardin ’85 + Mr. David J, Bondelevitch ’85 ÷Mr. Lawrence D. Mason ’75 Dr. Brent A. Bowman ’76Mr. Masaharu Masuda ’90 + Mr. Kevin G. Bovd ’77 +Mr. Michael McLane ’71 + Ms. Cv-; BONer ’90 +Mr. Peter R. Melnick ’85 4- Mr Leooold Brandenburg ’84Mr. Robert B. Moore ’79 Ms. Rita Burke ’70 +Mr. Fred Oshiro ’72 Mr. James P. Callahan ’89Mr. Dale RoadcaD ’81 + Ms. Lane Cameron ’71 +Mr. Jim Seaman ’69 Mr. Kevin Carev ’76 4-Mr. Robert J. Searls ’80 Mr. Richard CarusoMr. Philip Grady Smith ’65 Ms. Rita M. Catalano-Jellison ’78Mr. Jared W, Stansfield ’75 + Ms, Fu Chee Heng ’88 1.Mr. Sidney J. Stevens + Mr Thomas Cianflone ’77 +Mr. Kiyoshi Teranishi ’86 +

Ms. Elisa Covino ’89Mr. Joe Viola ’53 +Mr. Phil Curtis ’88 +Mr. Arie Volinez ’89 Mr. Steonen Dale ’87Mr. Marco Volpe ’84Mr. Luciano De Marchi ’88 +Mr. Martin Willweber ’76 + Mr. Anthony W. Deangens ’90Mr, Masahiro Yohkaichiya ’82 Mr. Greg Degler ’79Mr. & Mrs, JaCK ano

1. = Alumni Endowed Scholarshio Lydia OeJohnette ’90 IH) H = Honorary Doctorate Recipient Ms. Jeannie Deva ’75 +

Mr Garry Dia ’74 1-Mr John Donahoe, Jr ’85Mr. Dean Earl ’54Mr. Dave Erhardt 90 ~-Mr. Hans Fag~ ’81 +Mr. Pratak Faisupagarn ’82Mr. Edmond FambrD ’82 +Mr William Franz ’~6 ÷Ms. Me Jrice Gainer~ ’74 +Ms. Lucille Gaita 76Mr. Bernard Gallone ’84 4-Mr. Richard L. Garcia ’73Mr. Stefan Gaspar ’138Mr Doug Gately ’71 +Mr Roland Gertz ’8B +Mr. Scag a Gianma’co ’86Mr. Nello Giansiracusa ’75 +Mr. Albert W. Gieseman, Jr. ’78 +Mr Frank Gilbert ’78 +Dr Marc Gilbert ’78Mr. Guilherme Gomes ’79 ÷Mr. Peter Grant ’89Mr. Michael Love Graves ’81 +Mr. Gregor~ Guarin ’79Mr. Lewis Hamowv ’78 I-~lr. Albert Handmacher ’83Mr. John Hartman ’RO +Mr. Thomas Hickok 76 +Mr. Robert Hill ’81Mr. Mike Jacobs ’80 +Mr, Rob Jaczko ’83Ms Theresa Ann Jelliffe ’64 +Mr. James Johnson ’83Mr 3teonen doroan ’65 +Mr. Peter Jordan ’87 +Mr. Shige Kawagoe ’89 +Mr. Kurt Keown ’74Mr. Thomas Kesel ’76Mr. James E King, ~r ’71 +Mr. Jim Kingsbv ’76 1.Ms, Wendv L. Klein 82 +Mr. Jeffre R. Kolb "75Mr. Gregory Koltvk ’84 +Mr. Sherman Kornblum I-Mr. Alvin _ Koschik ’52Mr. Glenn Krofcheck ’82 +Mr. Edward M. Kue~ne ’90 +Mr. Joseon Kurev ’81 +Mr. Steven A. Lagarlo ’89 1.Mr. Thomas F. Lee ’62 +Mr. Richard Lempicki ’78Ms. Lore[[o Leonaro 4-Mr. Rick Levett ’85 +Mr PauI R. Lewne 73 +Mr David A. Loiland ’69 +Mr. Fred Malouf ’79Mr. Serge Martin ’81Mr. Harry Marvin. Jr ’69Mr Mark L. Matthews ’79 +Mr Mark Mattioli ’8’ +Mr. Pascoa Meirelles ’79Ms. Ruth B Miller ’60 +Mr. Garv Miller ’82 4.

Ms. Kern/ann A. Mitchell ’77 +Mr. Robert J. Mooney ’81 +Mr. J. Hunter Moore ’77 +Mr. Richard Moore ’85Ms Sharon Morrone ’80Mr. Henry A. Moss ’80Mr. N. Mott ’78 +Mr. S~encer Mullins ’84M~ Michael Murray ’89 1.Mr Charles Mym~ ’71 4-Mr Richard T Nash ’48 +Mr David Newsam ’81Mr Michael F.B. Nichols ’87 +Mr Jeff Nottonson ’85 +Mr. P.J. O’Keefe ’84 +Mr. David M. Olnev ’82 4-Mr. William Sidney Parker 87 +Mr. William Perrone ’73 +Ms. Nina Piken ’75 +Mr. Anthon’~ Plessas ’86Mr Phil o Polsinelli ’84 4-Ms. Elaina Anne Prevett ’90Ms. Christine Purcell ’83 4-Mr. Ray Rettig ’76Mr. Eric Richardson ’87 +Mr. Thomas V. Rickard ’89Mr. John H. Risse ’72 ÷Mr Doug Roerden ’84Mr Donald Rvan ’79 +Mr. Michae Saoienza ’88Mr. Michae Saul ’77Ms. Nancy Scharlau ’90Mr. Bud L. Schmidt ’78 +Mr. Mark Scholz ’87Mr. Roger Schueler ’60 +Mr Plus Schurmann ’89 +Mr Barry Seigel ’79 I"Ms. Carrie Semanco ’86 +Mr. Robert Shaffer ’88VIr. Atsushi Shibata ’87 +Mr. Robert Shinoda ’78 +Vlr. Yasusn~ Shitara ’85 4-Ms. Renee B. Simon ’87Ms. Karen F. Simoson ’76 1.Mr. Morris SkuplnsKy 88Mr. Sean Smith ’88 +Mr. Jav Soadone ’78 +Mr. James Stadnicki +Mr. Henrik Staruo ’84 +Mr. Thomas A Stewart ’90 +Mr. Thomas Stinson ’72 4-Mr. Bob Stoloff ’76 +Mr. Scott K. Streisand ’79 +Ms. Leanne Summers ’88 +Ms Patricia Tadiello ’85 4-Mr. Kenneth J. Taft ’72Mr. Peter J. Theilemann ’70 +Mr, John R. Thelin ’71 +Mr. Marc Theriault ’80Mr. Dale R. Thomoson ’85Mr. Paul Tomashefskv ’83Mr. Akio Ueda ’88Mr Edward Voig[ ’69 1.

Mr.Stephen B. Ward ’87Mr.Ernest J. Watts ’66 t"Mr.Clentis K. Williams, Jr. ’78 1"Mr.Mark Wolinski ’90Mr.Andr~ Woodvine ’86 1"

Mr.& Mrs. Allan R. BurkeMr.& Mrs. Bill ByromMr.& Mrs. Walter and

Cherie CampbellMr.& Mrs. William and

Mr.Alain Woygnez ’79 -~Mr.Koji Yoshimura ’78 +Mr.Varda Zamir ’87

PARENT GIFTSEncore CircleMrs. Michael CotlerMs. Marv Texas GarnerMr. Ryoichi HavashiMrs. Masako HiranoMr Yasuji KasaharaParents of Richard C. LathamDr. Victor R. MercaaoMr. Jean-Jacc Jes MerozMr. & Mrs. Kenneth and

Barbara OshmanMr. & Mrs. David I. PasternackMr. Jeff ScanlanMr. G.P Sulser

Producer’s ClubMr & Mrs. Harold anc

Sandra JenkinsMr. Klaus RatingMr. Nobuyuki Yamada

Leader’s ClubDr. and Mrs. Anthony ArnolcMr. & Mrs. Dave and Sue Dr ppsMr. Allen A. Fre,,Mr. Toru FujitaMr. & Mrs. Robert L. GutermuthMr. & Mrs. Ennio LigaoueMr. & Mrs. Fusashige and

~ qoko MaedaMr. & Mrs. Mesod MassiasMr. Haruo MinamiMr. Yasuo OgmoMr. Kvuzo OshidaMr. Lucio PimeotaMr. & Mrs. David and Patricia

Puz~namMr. & Mrs. Andrew P. Rol Jr.Mr. Kazuo SadashigeMr. & Mrs C. Weston Sandifer, ,JrMr. Peter K. SatowMr. Georg SchaferMr. & Mrs. Arthur ana

Mary Lou SchancheDr. and Mrs. Sterling P. Tignor

Player’s ClubMr John AlvesMs. Asiah Bte. AmanMr. David M. AndersonMr. Tetsuo ArakawaDr. and Mrs. Mauricio D. Bas. JrMr. & Mrs. Robert and Laura BelierMr Edwin C. BenshoeDr. N. BischolMr & Mrs. Russell and

Mary Rose BonaccorsoMr.J.M Burbea

Janet CarlsonMr Manuel J. CeideMr & Mrs. Daniel and Nicola CocioDr. and Mrs. Sidney R. CruzMr. & Mrs. Lars and Suzanne DinesenMr. & Mrs. Dean 0 DixonMr & Mrs. Robert ane

Katherine DonatelliMr.Garv E. EdwardsMr.Luis RaOl Romero FigueroaMr.David Frain and FamilvMr.& Mrs. Francisco G. FraneuezAttny and Mrs Arthur J Frawle,’. Jr.Dr. ,Javier GarzaMs.Cheryl J. Gibb and

Ms. Ste la V. SmithMr.& Mrs. Paul GilemMr.David GloverMs Guenther Greys

Mr.& Mrs. Joe and Joan GuerraMr.Nobuhiro HasmzumeMr.Arthur HauklandDr. and Mrs. D. Robert HayMr. William Y. t~ouDr. and Mrs. Michael JaffaMr.& Mrs. Marvin ant

Camille JanowiakMr.Hiroshi JodaiMr.& Mrs. James H. JonesMr.& Mrs. Sidne~ KatzMr.Hideo KawaiMr.& Mrs. Harry and

Gisela KinscheckMr. and Ms Eduardo and

Silvia Klev"

VIr.& Mrs. Robert Loewens~e~nMr.Alfredo Rodriguez Macnaoo\4r.& Mrs. J. MakowskMr.& Mrs. George ManosMr.Arv MardjonoDr.& Mrs. R. and G. MartocciMr.Takemasa MatsumotoMr.& Mrs. Fred and Barb MillerMr.Gideon MintzMr.Tetsuhiko Miy~ "notoMr.Toyohiro MivazawaMr.Tomio MiyoshiMr & Mrs. Jerry ano Farol NeSmith

Mr Nobuhiro NihonyanagMr.& Mrs. Urs NveeggerDr Kenichi OkadaMr.James PenneyMr.& Mrs. Peter F. ano Ma~, Lou PeueMs. Ellen PollMr. Walter B. PreibischDr. and Mrs. David A. RosinEdward B. RyDczvnski. Esq.Mr.& Mrs. Dagfinn ane

Greta SaetherMr.Mitsuo SakuraiMr.& Mrs. Robert H. and

Barbara M Shaw

Mr. & Mrs. Yukio and Teiko ShigiharaMr. Tom SnowMr. Haruo TeradaMr. & Mrs. Torrance SyrekDr. and Mrs. J.R. ThompsonMr. Ragnar UnellMr. & Mrs Richard and Virginia

Van DrutenDr. William C VincentMr. H~eeo WatanabeMs. Georgia WeberMr. & Mrs. John and Paula

WehmillerMr & Mrs. Goran and Harne[

WergeniMs. Teri E. WolofskyMr. Tatsuo YamagucrMs. Kumiko Yoshida

ContributorsMr. & Mrs. Thomas A. BellMs. Margaret E. BondMr. & Mrs. Philio ano

Francoiso BrownMs. Galina BryantMs. Alison CaniatoMr. & Mrs. Ronald and Dorothy

DeGreeffMr. & Mrs. Brenton H DicksonMr. & Mrs. Michael and Patty GoldMr. & Mrs. Alvin and Mary HainlineMr. & Mrs. Bradley ane

_inda HaywaroMr. Joseph Hinchliffe. Jr

Mr. & Mrs. Bernard IndelicatoMs Carole S. JacksonMr. Angnarad JonesDr. ano Mrs Edward KamoskiMs. Marylee A. KellvMr. Richard D. Ku oMr. & Mrs Raymond L LandyDr. and Mrs. G. LenardoDr. and Mrs. Ronald M. MaenzaMs. Evelyn McLauchlinMr Paul McMahonMs. Steonan~e PerdnMr. & Mrs Pat and Jud~/PoleyMr. & Mrs Paul and Cherie PollackMr. & Mrs. Richard and

Elizabeth RieblingMs. Sarah RoelofsMr. & Mrs. Phi p and Denise RogersMr. & Mrs. William F. RvanMr. Ra. E. ShenefellMr. & Mrs. Roger B. SimonMr & Mrs. Roger ano Marie SnowMr. & Mrs. Milton L. and Zita SoinnerMr. & Mrs. Clark N ano

Roberta S. Su livanMr. Richard TannenDaumMs. Linda Haber TirdeMrs. Eileen Yudelson

Encore Circle/Business and Profes-sional Leadership Group ($1000~-)

Producer’s Club ,~500-$999)Leader’s Club ($250-$499)Player’s Club ($100-$249)

CORPORATE GIFTSBusiness and Professional

Leadership GroupMr.& Mrs. Stephen Friedlaender,

HMFH ArchitectsMr.Pau Lyons

Foley, Hoag and Eliot

Producer’s ClubMr. George Keane.

]he Common FundMr. Paul Santacroce.

Suoerior Career Corl~oration

Leader’s ClubMr Rick Drumm

REMO CorporationMr. Fred W. Fogg, ,Jr.,

Contract SalesMr. Arnold Z. MasonMr. Roger Wilson,

Brewer and Lora

Player’s ClubMr. Jim Antonio.

J.A. Sewer-Drain ServiceMr. Alan Hoffman

_itho Composition CompanyMr. Ronald E Kunkel.

DJS Labels Coroorat~onMr. Peter Smokowski

660 CoroorationMs Linda Weiner

Bose Corooration

OTHER GIFTSNew Endowed Scholarship FundsCharles and Eileen Reed FundWilliam Leavitt Memorial FundMark Cuccinello Memorial Fund

Other Scholarship GiftsLeoea’d Feather and Harold Udkoff

Scholarship FundNational Academy of Recording Arts

and Sciences (NARAS)USA TodavAlcoholics AnonymousStanley Thomas aonnson FoundatiorAvedis Zildj an Scholarsh o FundHyatt Scholarship FundJohn Neves Scholarsh e FundSESACThe Harvara Musical Association

In-Mnd ContributorsAkaiJames BurrClearooint IncorporateoDobbin/Bolgta Associates/TDKEugene ,Jolly, E.U. WurlitzerKawaiKorg USAPearl InternationalREMO Incor~ora~e~Peter and Vivian RichmanSabian Incoreora~ea660 CorporationPaul Wennik. PoR Gram

Shop talk

Notes from

music industryconferences,conventions,and confabs

SPARS Digital AudioWorkstation Shoot-outMay 18-19, 1991Orlando, FL

The Society of Profes-sional Audio Recording Ser-vices (SPARS) regularlysponsors conferences andmeetings which target tech-nical or business issues ofinterest to the recording in-dustry. This year’s DigitalAudio Workstation Shoot-out allowed attendees tocompare a wide variety ofboth new and evolvingproducts in this rapidly ex-panding field.

The commercial realiza-tion of the digital worksta-tion has been available forIittle more than a decade. Inprior years, the market wasdominated by high-endproducts with price tags tomatch, aimed at the top stra-ta of the recording industrywhose client base could af-ford the newest and "glitzi-est" facilities. Most signifi-cant at this conference wasthe variety of low-cost sys-tems that have recently pen-etrated a broad spectrum ofthe studio business.

In basic terms, all of theproducts demonstrated canbe categorized as multi-function disk-based record-ing and editing systems.Most are designed aroundan expandable hard diskmemory, though the AkaiDD1000 uses magneto-op-tical drives, and many of the

other systems can interfacewith these as well.

Archiving the magnitudeof data these workstationsprocess is a common con-cern. Otari features a mir-roring system (simultaneousauto back-up) for the DDR-10. Studer Dyaxis uses autoload/back-up software with4mm streaming tape. Mostother systems archive to8mm Exabyte cartridges orDAT machines.

Macintosh computershave become the platform

of choice for low-end work-stations. The Digidesignproducts, Dyaxis, and OtariDDR-10 use a Mac as thecentral processor. The AkaiDD1000, Otari ProDisk-464, and Roland DM-80may be controlled by a Macfront-end option similar tothat used in the higher-priced New England Digi-tal systems. As a result, thereis a certain degree of consis-tency in the look and feel ofthe user interfaces--as closeto a standard as is likely giv-en the inability to inter-change data freely betweensystems. Other than the PC-based AudioFrame, the re-maining products are de-signed around proprietaryhardware configurations.

It was clearly the intentof the manufacturers pro-ducing low-cost gear to po-sition their products as via-ble alternatives to moreexpensive systems with rel-atively few compromises infeatures or performance.Roland’s DM-80 MultitrackHard Disk Recorder system,weighing in at a scant$10,000, was described inlargely the same terms as theconsiderably more costlyAMS AudioFile and NewEngland Digital PostProsystems. Digidesign empha-sized the wide variety of dig-ital signal processing toolsincluded with their prod-ucts. Studer boasted the useof fourth-generation con-vertors with superior soundquality.

In response to their low-er-cost competitors, thehigh-end manufacturers em-phasized the idea that youget what you pay for.

NED showed their newDSP option, a powerful andwell-conceived package fea-turing digital EQ, cross-fades, and mixing far supe-rior to similar features foundin lower-echelon products.Lexicon emphasized the ad-vantage of their intuitive andfamiliar user interface, pat-terned on the traditionalconsole model. AMSstressed the importance ofregular software upgrades,diligent customer support,and efficient and speedy op-eration. Solid State Logic


went as far as posting a tele-vision spot from scratchwithout prior preparation inorder to demonstrateScreenSound’s flexibilityand ease of use.

The overriding messageof the high-end dealers wasthat despite the similar ap-pearance of low-cost sys-tems, their products are stillbetter suited for serioushigh-level professionalneeds.

--Andrew Edelstein, Asst.Chair, Music Production &

Engineering Dept.

American Associationfor Higher EducationNational ConferenceMarch 24-27, 199iWashington, D. C.

The American Associa-tion for Higher Education(AAHE) conference was stimulating event that pro-vided substantive ideas andmaterials for thought anduse for all attendees. Thetheme of this year’s confer-ence was "Difficult Dia-logues: Achieving the Prom-ise in Diversity." The topicwas of particular importanceto music educators, whohave a unique opportunityto address the problemthrough music.

The keynote address byJohnnetta Cole, president ofSpelman College, offered anexcellent and appropriateintroduction to the confer-ence’s theme. She providedseveral insights on ways thatAmerican society can dealwith the issue of diversity.

In a session entitled "To-ward a Curriculum of In-clusion," three presentersoffered three different viewson the importance of a broadcultural curricula. ElizabethMinnich of the Union Insti-tute drew relationships be-tween the Western patriar-chal approach to curriculumcontent and a new attitude

Music Educators National ConferenceEastern DivisionApril 18-21, 1991Pittsburgh, PA

The Eastern Division MENC meet-ing provided music educators with a widevariety of events and activities. This con-ference proved to be quite substantive,offering a good balance of clinics, pre-sentations, and performances.

The conference had a strong empha-sis on multicultural awareness for to-day’s music educator.MENC PresidentKarl Glenn set thetone for the confer-ence with his keynoteaddress called "A Na-tion Fit for Heroes."Glenn’s speech ad-dressed the fact that the ethnic content ofour nation’s work force is rapidly chang-ing. By the year 2010, he said, the major-ity of the American work force will con-sist of cultural groups that are todayconsidered "minorities." He felt, there-fore, that music educators must start re-viewing and changing their teachingmethods and materials to incorporate aculturally diverse society.

A panel discussion entitled "Multi-cultural Awareness--Myth or Reality?"continued Glenn’s theme by addressingvarious ways such awareness can appearin the music classroom. Panelists Luve-nia George of Woodrow Wilson HighSchool in Washington, D.C., and JesseMcCarrol of New York Technical Col-lege discussed the development of mate-rials, pre-service and in-service teacherpreparation, and institutional settings for

such instruction. George also discussedthe selection of teaching personnel, eth-nic identiv/of students, teaching materi-als, learning processes, and multiculturalperformance practices.

Another panel focused specifically on"The Influence of Africa on the African-American Music Tradition and WorldMusic." Panelists for this session includ-ed Berklee Dean of Faculty WarrickCarter, who outlined the African rootsof blues and jazz. Other panel membersnoted the African connections to black

MUSICEDUCATORSNATIONAL CONFERENCE

American spiritualmusic and religion.

Clinics and presen-tations outside of themulticultural themeincluded a discussionon"MIDI in the BandRoom" by Robert

Moore of the Port Washington, NY, pub-lic schools. He promoted both the key-board and. the wind controller as valu-able teaching tools, stressing thatsynthesizers should be considered musi-cal instruments instead of machines.

Berklee Assistant Dean of Curricu-lum for Academic Technology DavidMash ’76 offered a clinic on "New De-velopments in Music Software and Edu-cation." Mash used his clinic to demon-strate modern sequencing software anddiscuss its potential uses in the class-room.

The conference also included an ad-dress by Pittsburgh Symphony conduc-tor Lorin Maazel who encouraged musiceducators to fight hard to keep music inthe schools.

--Lawrence McClellan, Jr., Chair,Professional Education Division

toward women’s issues thatfocuses on both heroes andheroines.

Martin Bernal of CornellUniversity discussed thelimited view of ancientGreece provided by 18th-century German and Brit-ish scholars. His thesis wasthat classical Greek civiliza-tion had roots in the Afri-can and Levantine cultures,but that these roots weredenied by early historians.Bernal proposed a new look

at traditional historical viewsthat will incorporate broadcultural influences ratherthan just one perspective.

In the same session, Car-los Cortes of the Universityof California at Riversidefocused on the problem ofexclusion as it relates to His-panics in America. Hestressed that Hispanics havehad a profound and dynam-ic role in American history,though current curricula of-ten overlooks that role.

Other sessions discussedcase studies of cultural di-versity programs, as well asthe struggle for equity in stu-dent outcomes assessmentand vital links between ur-ban schools and universities.

The challenges of cultur-al diversity have strong im-plications for the 1990s andthe 21st century. This con-ference offered some impor-tant ideas for beginning tomeet those challenges.--Lawrence McClellan, Jr.


CODA

blo dern Pro blerns

Larry Monroe "70

~’~n Berklee’s Professional Performance Division, wehave always balanced a number of important elements

in approaching our educational mission.These elements have included the needs to retain rele-

vant traditional tenets of music, to maintain college-levelstandards, to adapt to changing music styles, to keep pacewith the development of new technologies, and to respondto the preferences of individual students. Other importantfactors have been the pre-college musical experience of ourstudents and the constantly shifting musical environmentthat our graduates are likely to encounter. In recent years,significant developments in these last two factors have pre-sented new challenges of particular concern.

We all are aware that today’s entering students often arebereft of those basic theoretical and performance skills thatwould prepare them to succeed in college-level music pro-grams. This condition is often the result of a lack of formalmusical training prior to college entry. In the past, thistraining has been inconsistent, at best; the recent decline ofpublic school music programs has only made things worse.

Even the most effective public school music programsfrequently focus solely on traditionalperformance formats, such as the sym-phony, the concert band, and the tra-ditional choir. These settings provideopportunities mostly for players of themore traditional instruments and vo-calists, rather than players or singersinterested in contemporary music. Andin public school music programs thatinclude jazz ensemble and jazz choir,there still may be few opportunitiesfor students who play rhythm sectionor nonacoustic instruments.

Considering that more than 75 per-cent of our entering students arerhythm section or vocal students, itfollows that many have not benefited

Larry Monroe 70 chairs Berklee’s Pro-fessional Performance Division. Thisarticle is adapted from the 1991 Con-vocation Report.

Larry Monroe: "We need to awal(enstudentstothe ever-broadening param-eters of the performer’s craft."

from the structured musical training we used to expect.Another related problem is that many of our entering

students have: not yet played in group settings. As a result,they have not benefited from the sense of musical organiza-tion that comes from participating in a structured rehearsal.They also have not experienced the respect for music litera-cy and the understanding of form, rhythm, balance, andmusical structure that group playing can provide. Whilethis does not negate the raw talent and musical instinctsmost entering students have, this deficiency can make thetransition to college-level study a difficult one.

In addition to these challenges, there have been somefundamental changes in music performance which we mustaddress in our educational planning. For example, the roleof the performer has changed over the years. Live music isperformed with different technical guidelines than record-ed music. The emphasis on reading music varies from styleto style and instrument to instrument, and music notationsystems are diverse. New instrumental techniques that re-late to new ~music styles often conflict with traditionalvalues--interpretation, tone, intonation, dynamics, articu-

lation, expression, and other perfor-mance elements have been impactedby changes in performance styles.

At Berklee, we must continuallyexamine these new developments andidentify the musically meaningful in-gredients that will guide our currentstudents and our future growth. In ad-dition, we should determine how tointegrate and align these ingredientswith the enduring tenets of music wecontinue to embrace.

As educators, we need to find cre-ative ways to awaken students to theever-broadening parameters of the per-former’s craft. Further, we need tochannel their natural enthusiasm formusic into enthusiasm for music train-ing through intriguing, effective, andrelevant courses that address the chal-lenges of the professional music envi-ronment. ~1


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Documents

Fa111991 Bcrklcc t o y - Berklee College of Music · Fa111991 t o y A Forum for Contemporary Music and Musicians ... In a glimpse from his new book, trombonist and faculty member