LSA News

No. 61, January, 2005

If you have anything you want in the next newsletter, send it to lsaweb@lists.uoregon.edu .

Music Issue Index Music is in Every One of Us! by Leslie Bennett Library Feast Kicks Off the Holiday Season by Laura Damiani Performing by Bruce Tabb Shape-Note Singing and the Sacred Harp by David Landazuri Bluegrass 101 by Laura Damiani LSA Holiday Sale Showcases Staff Talents by Laura Damiani Still Playing After All These Years by Ben Farrell Calling all Poets! From the Fact File by Terry McQuilkin Events of Interest Opportunities People in the Library

Music is in Every One of Us!

by Leslie Bennett

Music is an important part of everybody's life (whether or not you realize it!) Most of the passages of our lives are punctuated by music—as are most of our social occasions. Do you recall singing along to a guitar at a camp, or on the bus going to school? For those of us who are older, remember the days of singing the latest hits to the transistor radios that were everywhere at schools when we were teenagers (and no headphones to make them private?) We listen to music all the time, whether we want to or not—in shopping malls, with every commercial on radio or television, even from the ice cream trucks in the summertime. Babies fall asleep to music, political groups borrow tunes to express their approval of a politician or to fight an injustice, and social groups often use music as a gathering point for their meetings. The most memorable occasions of our country's history have been punctuated by inspiring music. And what would our movies and television shows be without the music that enhances the plot and makes us grip the chair with fear or sorrow? What would our holidays, our ceremonies, and our talent shows be like without music—very quiet, indeed!

Because music is so important to human beings, many of us have spent some of our life learning to make music, alone or with others. Look around your library at your colleagues—almost every one of them at one time or another participated in some musical activity, whether it was in elementary school, in Scouts, in teenage rock and roll bands, in folk groups, in choirs (secular and sacred), in high school (the marching band, orchestra and choir nerds), and in the more esoteric groups we've played in, such as early music groups, and the various world music groups, such as the marimba crowd or the Irish music crowd. We see evidence of this at our annual Gonzos—but those performers are just the tip of the iceberg!

In the interest of finding out how musical our library staff is, I sent out an e-mail asking everybody to tell me what instruments they played—even if it was when they were children—and the responses were overwhelming and touching—not to mention humorous.

Of all the responses, the most common one was a fear that I would actually ask you all to play these instruments, something that I would never do (considering all the years I was asked to play for late-night visits by family friends—the price of taking lessons!) However, you all should remember that at one shining moment in your life, you tapped into the music of the cosmos—and even if you aren't playing now, you understand a little what goes into the wonderful sounds that our professional musicians make—and what bravery those little children who play have!

So what kind of musicians do we have in the UO Library system? Well, among us is the potential to create a mighty orchestra (well, with only 5 violins, 2 violas, 3 cellos, and a double bass, perhaps not so mighty!), as well as one heck of a band (lacking only a tuba player!) And yes, as my e-mail may have led you to suspect, the clarinetists were the largest group (16), with the exception of pianists—and more of the clarinetists are still playing! We also have more of them that actually have performance degrees on that instrument (3 of them) than any other instrument in the library. The only larger group (besides a myriad of singers—but, as we all know, anybody can sing!) are the pianists—and most of them reluctantly learned when they were children and are adamant that they don't know how to play now!

Among the more interesting groups that could be formed is an early music group (with recorders, crumhorns, gemshorns, a harpsichord, a viola da gamba, and a psaltery.) (For these instruments, as well as the following, please click on their names to go to the Grove Music Online article about the instrument. And for extra thrills, some entries allow you to click on the Illustrations note above the articles to see pictures, or on the Sounds note to hear the instruments being played.)

We could also have a world music group with all sorts of instruments, such as the mbira (the African thumb piano), the oud or Oud or Ud (an Arabian stringed instrument), a charango (that South American "guitarlet" that El Invisible is so fond of playing), marimba (also from African and South America), and a myriad of folk harps. We could even have a North American folk group with enough guitars, mandolin, banjo, and dulcimer players, to make even the New Christy Minstrels happy. (Don't know who they are? Read up on the folk groups of the '60's!) We also have the following instruments that would fit right into this group—including an autoharp (and no, it doesn't play itself!); a Jews Harp, a Penny Whistle, and that ubiquitous symbol of the blues, the harmonica.

And, like the post-music award shows where all the great rock and rollers actually play together (picture 10 master guitarists, and you know what that can mean), we could have a rock and roll band with 3 guitars, 4 electric basses, and 3 keyboard players, perhaps accompanied by our solo handbell ringer. (We don't have a drum set player—and I don't know if that reflects the quiet nature of those of us who go into the library for a career—or those people just didn't respond to this poll. Although we don't have anybody currently admitting to playing the drumset, we had our own drummer girl in Terry Smith, who played the civil war drums and graced our library staff for far too short a time!)

But our most unusual group would be those of our colleagues who yodel, whistle, practice the ancient art of throat singing, or just sing in the shower! Perhaps some Gonzo we can feature these talented and brave souls—in fact, we have had the whistlers give a toot, so it's now time for the dulcet tones of the throat singer to charm us.

I wish you all a good musical year—and the bravery to show us your talents at this year's Gonzo!

Library Feast Kicks Off the Holiday Season

story and photos by Laura Damiani

The Library Staff Association Social Committee did it again. Another fabulous, festive and joyous Holiday Potluck experience was had by all. On Wednesday, December 8th, the Knight Library’s Browsing Room was transformed into a winter wonderland. The tables were set with bright red and white linens as holiday greenery and twinkling lights abounded. All the while a steady Oregon winter rain was falling outside the windows to offset the warm glow inside.

	Jo-Anne Flanders gets the holiday spirit award.

Library staff came with their holiday spirit and hungry bellies to sample the many fabulous dishes created by their co-workers. There were almost too many dishes to choose from. Library Administration contributed two spiral hams. Paul Harvey created a very artistic Savory Vegetable Cake with Wild Chinook Salmon. The salmon was caught by one of the Special Olympics athletes that he coaches. The dessert table was in danger of collapsing under the weight of the many sweetly decadent desserts. Diners even had their choice of “regular” or “free-range” turkey. Rebecca Fisher cooked both turkeys. She donated one and Annie Zeidman-Karpinski donated the other. There was also a smoked turkey contributed by Pam DeLaittre. And of course there were numerous other interesting dishes brought by our co-workers. Who ever knew we had so many talented cooks amongst us? We ate and ate and ate. And after loosening our belts, we went back to work. But a nap would have been nice.

A big thank you goes to the LSA Social Committee for another success: Raina Smith, Linda Hodgin, Megan Dazey, Pam DeLaittre, Diane Haas and Stephanie Midkiff. Raina Smith would like to offer special thanks to everyone who helped the social committee set up and take down. And thank you also to the many folks who brought food to share.

Paul Harvey's Savory Vegetable Cake with Wild Chinook Salmon

for more photos from the potluck click here

Performing

by Bruce Tabb

I have always loved music as far back as I can remember. I don't come from a musical family and am the only person who plays any instrument at all. I played recorder in grade school. By time I was in middle school I could make a sound blowing across a bottle. And I soon figured out that if I blew harder and used a smaller opening between the lips, I could get more notes than just one. This, I think, was my introduction to flute playing and I chose the flute only because I immediately got a strong sound on it.

When I showed interest in playing in our school band, my big brother told me I could play any instrument I wanted but the flute because it was a girl's instrument. I chose trumpet but I was a horrible trumpet player; as I could never get a sound out of it. I was so drawn to the flute, and one of the flute players said I could try hers, and when I did, I got a sound out of it right away, a strong sound, and she told me I shouldn't play flute either because I would only play it too loudly. I saved up all the money I could and bought my first flute but I never played it outside the home because my brother told me he'd kill me.

I come from a small town in North Carolina and, growing up, it never occurred to me that a person could study a musical instrument, except maybe piano, in college. I moved to Minneapolis soon after graduation from high school, and it was here that I began studying flute. I first took lessons from Cynthia Stokes, second flutist in the St. Paul Chamber Orchestra. And after a year or so, she suggested I take lessons with Julia Bogorad, principal flutist in the same orchestra. This was when my playing took off. I won the Minnesota Schubert Club competition and got to play one of the Mozart concertos with the St. Paul Chamber Orchestra. That was really something.

Julia had studied flute at Yale with Thomas Nyfenger, a internationally known flute teacher, and she encouraged me to apply. It was a long shot because Mr. Nyfenger took only two students a year. I was first alternate, but someone must have declined admission because Yale called and offered me a place. I jumped at the chance.

Mr. Nyfenger was a very demanding teacher. He would get quite upset if I missed even one note or played an incorrect rhythm during a lesson. But he was a great teacher, a true genius, and he believed that you couldn't get to the music until all the notes and the rhythms were right. While studying with him, I won or placed in several large competitions. Upon graduation, I made my living playing in orchestras all over Connecticut and in New York and taught flute at a number of music schools.

Then Mr. Nyfenger committed suicide. His death affected me so deeply that I started having severe stage fright, and it became so severe that I stopped performing and eventually stopped playing altogether.

About four years ago, I was at a recital in Portland featuring the world-class flutist, Alexa Still. She had also studied with Mr. Nyfenger, and her playing completely mesmerized me. It dawned on me that Mr. Nyfenger had not spent all those hours with me to have me stop playing. So, I started playing again. My technique is not nearly what it was back when I placing in competitions. But I'd like to think I can still make a lot of noise on a girl's instrument (which, by the way, is totally untrue because it takes as much air to play a flute as it does a tuba, if you play either of them correctly). I have musician friends now and with them I've started performing. The new flute professor at the Music School, Nancy Andrew, has asked me do a class next term with her flute studio. All in all music is really only a hobby with me, but a very serious one. I do not want to be a professional player again. I just want to have fun with it, though at a fairly high level of proficiency, I hope.

Oh, by the way, I played at my big brother's daughter's wedding last September. At the reception he told me my performance had moved him deeply, and had almost brought him to tears, so there's hope for him yet.

Editor's note: Two flutists mentioned in this story will be appearing in Beall Hall this term. Nancy Andrew will present a Faculty Artist Series recital on Thursday, February 3. Alexa Still will present a Guest Artist recital on Saturday, March 12.

Shape-Note Singing and the Sacred Harp

by David Landazuri

Shape-notes are a method of musical notation whereby certain shapes correspond to certain syllables which in turn correspond to certain notes of the scale, as in the "Doe, a deer" song from the Sound of Music. It's a mnemonic device that can help people like me who don't read music very well to sight-read a piece they are singing for the first time. The practice dates back to the middles ages and is referred to as solfege, solfeggio or solmization. A lot has been written on this topic by people who understand it at lot better than me, so consider this article as merely a reference to better-informed sources. The kind of shape-note singing I am most familiar with is that which dates back to the early days of the United States. To see what a piece of the music looks like click here.

In this example, the upper four conjoined staffs correspond to the vocal parts (from top to bottom) soprano, alto, tenor and bass. To me, this sample looks strange because of the bottom two staffs, which are for instruments. I have experienced this music principally a cappella; that is, voices alone, without instruments. Indeed, in the early days of our republic, when the American shape-note tradition was forged in New England, churchy instruments like organs and pianos were hard to come by, and it was up to the congregations to provide their own music. Itinerate singing-school masters would come to town and for a week give lessons and hawk their hymnals. The roots of this music are English, but many of the singing-school masters were composers, too, and scores of different shape note hymnals were published, using various systems, some using seven shapes, some with just four. As the country grew more sophisticated, churches acquired real instruments and trained musicians to play them, and the rough-hewn amateur sound of shape-note music was pushed out, and survived mainly in the rural south.

The Sacred Harp, first published in 1844, is a four-shape book which today is the most popular of the shape-note hymnals still in use. In fact there has been a resurgence of shape-note singing in the last two decades, as the practice has spread back north and even to other countries. Recent films like "Cold Mountain" (which included a scene of the traditional "foursquare" singing) and "The Ladykillers" have incorporated shape-note singing into their soundtracks. Some of these hymnals have the word "harp" in the title, but rather than an instrument, the harp referred to is the hymnal itself, or perhaps human voice. The Sacred Harp has been repeatedly revised, (most recently in 1991), and represents a living tradition, incorporating tunes by living composers.

A key feature of shape-note music is its participatory nature. Hugh McGraw, one of the living shape-note composers, has said: "I'd drive a hundred miles to sing Sacred Harp, but I wouldn't cross the street to listen to it." Although the music is inescapably Christian in content and often sung in churches, sometime for religious services, the shape-note singings are generally more social occasions, not prayer meetings: nondenominational and generally democratically conducted—anybody who wants to may lead or request a song from the book.

(story continued)

Bluegrass 101

story and photos by Laura Damiani

When you want genuine music — music that will come right home to you like a bad quarter, suffuse your system like strychnine whiskey, go right through you like Brandreth's pills, ramify your whole constitution like the measles, and break out on your hide like the pinfeather pimples on a picked goose — when you want all this, just smash your piano, and invoke the glory—beaming banjo!

— Mark Twain

Walk into Sam Bond’s Garage in Eugene on any given Tuesday night and you'll get a good idea of what Mark Twain was talking about. It’s the Tuesday night bluegrass jam. Musicians come together every week to create this Earth—rattling acoustic music. The sounds of banjos, guitars and mandolins fill the air with their energetic vibrations. The atmosphere is festive as the music overcomes the audience with its power, speed and driving rhythm. (To see a video of the live bluegrass jam click here)

	Sheri Lynn on bass at the Sam Bond's bluegrass jam

When a friend took me to the bluegrass jam at Sam Bond’s, I experienced my first real taste of bluegrass. Being from Chicago, it wasn’t a type of music I was used to being exposed to. Before that my few and rare glimpses into bluegrass included snippets such as Steve Martin playing the banjo and the theme song to the TV show “The Beverly Hillbillies.” Let’s face it — bluegrass is definitely not a mainstream type of music. At the jam I found myself immediately overtaken by the raw emotion and intense energy of the music and was drawn right in. I suddenly found myself attending week after week to get my bluegrass fix. Before I knew it a musican named Sheri Lynn was mentoring me and teaching me how to play bluegrass guitar. We eventually formed a bluegrass band called Barefoot Nellie. I soon discovered an interesting and unique subculture attached to the music. I definitely don’t claim to be an expert on bluegrass as it was new to me not so long ago. And I am still discovering it. But pull up a rocking chair and I’ll tell you what I know.

Bluegrass gets its roots from early American mountain music. In the 1930’s a mandolin player from Kentucky by the name of Bill Monroe formed a band called “Bill Monroe and His Blue Grass Boys.” The acoustic band had a guitar, banjo, mandolin, fiddle and bass — laying the groundwork for what are today considered the key instruments in a traditional bluegrass band. His sound was based upon the country, string band or “hillbilly” music of the time. But it was different in its powerful, hard—driving tempos and strong vocal harmonies. He combined the sounds of rural string bands with folk, blues, and gospel. The music he made was considered the birth of bluegrass and today Bill Monroe is considered “The Father of Bluegrass.” Bluegrass music has branched out into numerous styles over the years. You can still find very traditional acoustic bluegrass bands in addition to those with influences of other genres such as folk, Celtic, rock and jazz just to name a few. Modern bluegrass has been branded “Newgrass” and is highly rock and roll influenced and electrified. In 1997 Bill Monroe was inducted into the Rock and Roll Hall of Fame in recognition of his influence on American popular music.

The Del McCoury Band pefroming at Wintergrass in 2001

(story continued)

LSA Holiday Sale Showcases Staff Talents

story and photos by Laura Damiani

"The Green Pear" by Nancy Loya

The Library Staff Association’s Holiday Sale took place on December 7th in the Browsing Room. Many of the Library’s talented artists contributed their works. There was also a “jumble table” of assorted interesting second hand items to choose from. Bruce Tabb once again provided a decadent chocolate torte to be raffled off. The lucky winner this year was Ron Renchler. 10% of all sales go to the LSA to help fund it’s many programs.

Pam DeLaittre had this to say about this year’s sale, “To all of you involved in making the Holiday Sale a big success, I personally want to thank you for the help and support you all show to LSA. The sale made over $160.00 for LSA between raffle sales and consignment percent. I hope you all had a good time and will join in for the next sale in the spring!”

Dennis Hyatt counts his pennies.	Pam DeLaittre discusses the making of her wool blankets with Donna Pellinger.

For more photos from the sale click here

Still Playing After All These Years

by Ben Farrell

As I neared the end of my degree program in music I realized that establishing a career in music education, my declared major, was an option that was no longer attractive to me. Though there were many reasons for this revelation, they were heavily influenced by the passage of Oregon's ballot measure 5. One side effect of that horribly crafted bill was the decreased support for music, art and physical education in our public school system. In my senior year at UO I witnessed a large number of experienced music teachers, including some with ten or more years of experience, returning to the classroom for secondary endorsements or to pick up new skills to market outside of the field of education. I needed to look deeply into my own reasons for pursuing a music degree at the collegiate level and wound up admitting to myself that developing a career as a teacher was not my primary motivation for going after the degree in the first place. I simply loved playing for people and collaborating with other musicians.

This only left one problem to figure out—how I was to make a living! Between 1984 and 1988 I was (barely) able to support myself by cobbling together a pastiche of paying gigs, accompanying positions, private piano lessons and a healthy dose of restaurant and landscaping work. If it wasn't exactly the glamorous performer's lifestyle I'd once envisioned, at least I maintained a modicum of independence. This fine little house of cards was breezily blown away one day when my significant other uttered two significant words, "I'm pregnant." I immediately realized how indispensable were those everyday items that I'd heretofore considered "the little things," like, life and health insurance, a bank account, regular paychecks, a car…you get my drift. Shortly thereafter I began working at the library.

Of course, I didn't abandon music entirely; I changed it from a vocation to an avocation and embraced the true meaning of the word amateur. I do it for love (if not for money) and if I manage to pick up a couple of bucks along the way, so be it. Today I thoroughly enjoy performing in ensembles both large and small, organizing music projects and helping to develop arts organizations both within the Eugene area and beyond.

This year I continue playing with the Eugene Symphonic Band for my 25th consecutive season. For those who are unfamiliar with this group, the ESB was established by the late Mr. Robert Vagner in 1957 and its intention is to provide a forum for music educators and people of advanced musical skill to continue to perform classics and new literature from the woodwind repertoire. Mr. Vagner had a long and illustrious career as professor of clarinet and director of bands at the University of Oregon, where he taught from 1950-1978. Mr. Vagner continued to conduct the ESB after his retirement and he remained with us until 1985 (and he continued to teach clarinet for several more years after that). I joined the group in 1980, so I have had the pleasure to perform for every single conductor the ESB has ever had.

(story continued)

Calling all poets and poetry lovers!

An upcoming issue of LSA News will be devoted to poetry. Are you a poet (budding or well-established)? Do you know some poets in the library? Let us know if you might be interested in submitting some poetry or if you'd like to recommend some poets.

In addition, we'd like to find out what poems are the personal favorites of the staff and faculty of UO Libraries. Similar to the Favorite Poem Project, spearheaded by former poet laureate Robert Pinksy, we'd like to compile a collection of poems that have touched some of our staff members in a special way. Tell us what poem is a personal favorite of yours. If you can't select just one, send us two or three names. You don't need to send us the poem; if it's published, we'll track it down.

Oregon Coast on New Year's Eve 2004
photo by Laura Damiani

From the Fact File

by Terry McQuilkin

More than a few music makers are known by something other than the names given to them at birth. From Norma Egstrom (Peggy Lee) to Barry Alan Pincus (Barry Manilow) to Trevor Tahiem Smith (Busta Rhymes), musicians have often found that some names have more flair (more sting?) than others. See if you can tell us the name adopted by each of the ten musicans described below.

1. Born Dana Owens in 1979, this rapper, actress and record producer has also hosted her own television show.
2. This singer, born Virginia Patterson Hensley, was elected posthumously to the Country Music Hall of Fame in 1973. If you guessed June Carter Cash, try again. The one we're looking for died in a plane crash in 1963.
3. It is said (whether true or not) that this iconic American songwriter, born Robert Zimmerman, took his professional name from a great Welsh poet.
4. Lots of fans of this Canadian-born singer really don't know that she was born Roberta Joan Anderson.
5. Born Israel Baline, this great American songwriter lived to be 101, and during his long and productive career he wrote many memorable songs including "Alexander's Ragtime Band," "Blue skies," "Puttin' on the Ritz," and "God Bless America."
6. L. A. ain't changed, but Andre Romel Young's name changed to this when he became a rap artist.
7. This coloratura soprano, who as Belle Silverman sang in public at the tender age of three, is regarded as one of the leading operatic singers of her generation, and has been for many years a successful opera company administrator and board member.
8. Listeners who know the name adopted by Curtis Jackson may remember that this hip-hop artist was shot nine times in 2000 yet recovered.
9. It's not unusual for fans of this Welsh singer to be unaware of his birth name: Thomas J. Woodward.
10. This singer was born Henry John Deutschendorf, Jr. in Roswell New Mexico, but found the serenity of a clear blue mountain lake more to his liking, and moved to Colorado, where he had a home until his death at age 53.

After you have identified the 10 musicians described above, submit your answers to Fact File. Answers must be received by January 25. The winner will be determined by the number of correct answers; in the event of a tie, a single winner will be selected by lot. The winner will receive a gift certificate worth $5.00 toward purchases at the U.O. Bookstore, courtesy of the Library Staff Association. All staff and faculty of the University of Oregon Libraries are invited to participate, although the winner of the most recent Fact File contest is ineligible to win this contest's prize.

Events of Interest

LSA EVENTS

No Library Staff Association events are scheduled for January.

NON-LSA EVENTS

Accordions Anonymous member David Landazuri invites all to Polka Bowling Night! Get ready for the fun event of the century on Saturday, January 15, 2005 from 9 p.m. to 1 a.m. at Southtowne Lanes. ADVANCE TICKETS ONLY, available from AA members (David L. 346-1862) and at Tsunami Books (2585 Willamette) and Backstage Dancewear (380 W. 3rd Ave). For more info call 988-3822.

Opportunities

Library Mosaics, a print journal aimed mainly at "Library/Media Support Staff and Librarians interested in Support Staff", is seeking a regular contributor for their "Technically Speaking" department. Interested parties should contact the publisher, Ruth Roney, at rroney@librarymosaics.com, or the editor, Charlie Fox, at cfox@librarymosaics.com, or phone them at 310-645-4998.

People in the Library

Welcome

Jon Jablonski has accepted an offer for the position of David and Nancy Petrone Map/GIS Librarian. Beginning December 13, Jon will work half-time in the Science Library and half-time in the Document Center. As of March 21, 2005, he will work full-time in the Map/GIS Librarian position. Jon is looking forward to working with his talented staff to define a new direction for the unit. Jon has worked for the UO Libraries since 2002. Congratulations, Jon!

Matthew Mensik has accepted a Library Technician 2 position in Access Services, Circulation/Reserves & Video. Matthew was a student assistant in Access Services over the course of several terms in 2002 and 2003. Last spring he received a bachelor's degree from the UO and he is currently continuing his education here. Congratulations, Matthew!

Photo courtesy of Laine Stambaugh.

Goodbye

Clarice Krieg, former head of cataloging at the UO Libraries until 1976, passed away on December 20, 2004. Clarice was instrumental in bringing the UO Libraries into the modern era of library science by welcoming computerization and the advent of the MARC record.

Announcements

The Library Faculty Grants and Awards committee announced the following awards to library faculty from the Professional Development Fund:

Ann Zeidman-Karpinski, $350 to attend ALA (American Library Association) Midwinter Meeting in Boston, MA.

Elizabeth Breakstone, $350 to attend LITA (Library and Information Technology Assocation) National Forum in San Jose, CA.

Jon Jablonski, $350 to attend ALA Annual Meeting in Chicago, IL.

Cara List, to attend ARLIS (Art Library Society of North America) Annual Meeting in Houston, TX.

Karen Munro, $325 to attend ALA Midwinter Meeting in Boston, MA.

Heather Briston, $200 to attend the International Council on Archives Section on University and Research Institution Archives Annual Meeting.

Ed Teague, $200 to attend IFLA (International Federation of Library Associations and Institutions) General Conference in Oslo, Norway.

Congratulations to all!

Been to an interesting conference?

Send us a brief report for publication in the next newsletter. Thanks!

Last updated: 041118
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