Forte!
Hamline's Music History		 Movements in Music
FORTE! Home Instrumental: Choral:
1854-1872 1920-1950 1920-1950
1880-1910 1950-1970 1950-1970
1910-1920 1970-Present 1970-Present

Hamline University

Using Works Cited: Due to the amount of research that was necessary in compiling such a complete history, and sheer number of student researchers, our Works Cited listings may be different from what you are used to. The references to our Works Cited page can be found in ( ). The first number in the ( ) refers to the corresponding reference number on the Works Cited page found at the end of this document. The second number after the comma (if it exists) represents the page number of the source from which the information was taken. Please keep in mind that each movement has its own Works Cited page, there may be more movement information found beneath it. If you have any questions about the source information that is
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1970-Present
Instrumental

Instrumental Music 1970-Present
Hamline University's Music Department has enjoyed an incredible roster of both faculty and alumni past and present. "Hamline University employs numerous musicians to instruct students including members of the St. Paul Chamber Orchestra and Minnesota Orchestra." From Ernest Krenek to Rees Allison, and Robert Holliday to Paul Pizner, all of our faculty has made unbelievable contributions to the music careers of hundreds of young men and women. Rees Allison, Paul Pizner, Shelly Hanson, Yali You and Janet Greene are just a few of the many lives we can look at to see the dedication of our faculty.

Rees Allison, a native of England and graduate of the Royal Academy of Music in London, came to the United States after receiving a Fulbright Scholarship in 1965. He received his doctorate from Washington University in St. Louis, Missouri while also playing for the St. Louis Symphony Orchestra as a pianist (6). He then went out and taught in New Mexico, but after hearing such good things about the Twin Cities he began writing to small colleges. Hamline replied and offered him a position in the music department (28). His interests other than teaching include sailing and his professional group the Musical Offering. Allison has always had a love of the water and in 1983 began building a 32' cutter to be sailed to Southampton, England in the summer of 1985 (21). On to more of a musical note, the Musical Offering, a professional music ensemble, began in 1971 when proposed by Allison himself. The group has consisted of Hamline faculty and alumni as well as members from the outside community including members from the St. Paul Chamber Orchestra (5). Some of the most well respected musicians that have passed through the Twin Cities have been a part of this ensemble. Their concerts have received rave reviews from St. Paul's Pioneer Press and are typically sell-outs (1). This group continues to play today with the very same success and integrity as from the beginning.

Paul Pizner came to Hamline University in 1961 after teaching at the high school level for many years. Russell Harris spoke of attempting to build the instrumental aspect of the music department and Pizner was quick to respond to the job offer (20). He was the creator and director of the incredible jazz program at Hamline which has brought in quite a bit of outside attention to the department. Also while at Hamline, he directed the Concert Band and all Jazz Ensembles (13). He is currently a member of a jazz band called "Just Friends" which stills plays frequently throughout the Twin Cities and even includes some of Hamline's finest graduates. His interest outside of playing the clarinet and saxophone, is playing golf. In 1993, he led the first round of the Senior Olympics Golf Championship (20).

Shelly Hanson had been teaching a very specialized course load in California when offered a position at Hamline University. What drew her here was the opportunity to teach a broader spectrum of material and create various instrumental ensembles (12). While at Hamline, from 1982 to 1995, she taught Music Theory and conducted the Sinfonia and other ensembles (13). She recalls that Hamline students were incredibly talented, but limited in numbers. She would often times go through student's folders to see who had ever played an instrument. She would then follow that up with a phone call to the student inviting them to take part in the numerous ensembles. Her greatest frustration with the program was the absence of a performance hall. She was thrilled when the Sundins donated the necessary money. She resigned in 1995, with the desire to pursue her own musical endeavors and have more time on her hands. She also felt that she could not continue dedicating the necessary amount of time to students and pursue her own interests. She played with the Musical Offering for a while, along with the Minnesota Orchestra, St. Paul Chamber Orchestra and Pops Orchestra. She is currently composing music and is a clarinet instructor at Macalaster (13).

Yali You came to Hamline in July of 1996. It is no surprise that You was hired to fill the string position. Her music background is nothing short of spectacular. She graduated from the Shanghai Conservatory of Music in 1984 and played in the Beijing Film Orchestra as a principal Cellist. She arrived in the United States in the October 8, 1986. She came to the United States to continue her education. You realized that in order to be a good musician there was more to it than simply playing well. She wanted to grow and learn how music evolved and why things became the way they did. You wanted to become a more intellectual musician and attended Northwestern's Masters program in the fall of 1986. You received her Masters degree from Northwester in 1987 and her Performance Certification in 1988. The whole while she was at Northwestern she maintained a perfect 4.0 GPA while mastering English at the same time. After her time at Northwester she attended The Peabody Conservatory for a year before following her instructor to the University of Cincinnati where she received her doctorate in cello in 1996. Since You's arrival she has also been playing (Cello) a great deal in the community. She has played with the Schubert Club, at recitals at St. Thomas and Concordia, in Fergus Falls. You has pretty much been playing all over the state. (30)

A recent addition to Hamline's music faculty is Janet Greene whose emphasis is in instrumental music. She earned her undergraduate degree from Smith College in 1978 and her Masters Degree in performance from the Manhattan School of Music in 1982. After this she freelanced in and around New York City playing the clarinet. From these few years she learned quickly that the music business is one made of contacts. At one point she played with the New York City Opera Company, which toured frequently. She soon began a family though and wanted to find a more stable form of income. She turned to the idea of teaching, which she had a knack for, and went back to school to get her doctorate. She received this in 1989 from Rutgers University and immediately began work at a prep school in New Hampshire. She noticed Hamline first because of its liberal arts background. She felt that a small liberal arts college could offer a music student more than a conservatory because it did not necessarily prepare students for a field that was so competitive and where there were not enough jobs. Within the department Greene teaches clarinet lessons to anyone with a vested interest, conducts the Hamline Winds, the concert band, and also oversees the Pep Band. Her classes include Music Theory I and II and possibly a future class in Instrumental Conducting. Janet Greene is clearly enthusiastic about what she does and wants to share her love and appreciation of music with anyone, major or non-major. However, she is frustrated with the limited space the department has. She says they do not know how to use the space they have and that makes it somewhat inefficient. She also feels that Hamline music major needs to be reevaluated. Courses need to be given more credit because of the time that goes into each one, and major requirements need to be cut down so students are able to take other classes within the university and spend more time on the ones they have. On a more personal note, she would like to find a little more time to play her clarinet (10).

Other outstanding achievements by Hamline faculty have been the success of Kathleen Winkler and professional recordings by Earl Barr and Carol Kelly. Winkler, a violinist, won the Carl Nielsen International Violin Competition in June of 1980. She was offered $4000 to tour Europe and seats in the Minnesota and St. Paul Orchestras. However, she turned all of this down to continue teaching at Hamline (23). Earl Barr has made two professional records and helped guide Carol Kelly in the production of her record. Rees Allison and Kathleen Winkler are also featured on Carol Kelly's album (26).
The jazz tradition at Hamline has been strong throughout its history, but its most impressive years have just been of recent. In the last 30 years, Hamline's students have enjoyed the birth of the official Jazz Ensemble, the awards it has received, and most of all the creative music it has produced. In 1965, the Jazz Lab Band came about under the direction of Professor Paul Pizner. The term "Lab Band" was considered somewhat of a buzzword used to describe experimental bands. This Jazz Lab Band consisted of players from the Concert Band who were interested in jazz. According Pizner, three years later in 1968 a recording was produced thus allowing them recognition by both the university as well as the surrounding community. The following year jazz became a class that was offered along with the stipulation that if a student were to play in the renamed Jazz Ensemble, they also had to be a part of the Concert Band. Interest had been lacking in the Concert Band and this was a way to keep the enrollment high. This ensemble was one of the first in the MIAC and also served as a wonderful opportunity for women to advance in the music program. Susan Hanson took advantage of this as the first woman in the program (20).
The Jazz Ensemble played for a wide audience from student groups on campus and other colleges to local high schools and community events. They were even invited to play at St. Paul's 125th Anniversary Festival (22). The ensemble had originally toured with the Concert Band, but as it grew it became necessary for them to have separate tours (20). In 1979, as a result of incredible funding and fundraising, the ensemble was able to tour Spain. Two years later they continued their international tour with a trip to Mexico City, where they played for hotels, the university and other interested groups. This trip became a bi-annual event sponsored by proceeds from concerts and the Mexican Tourist Board. The Jazz Ensemble also gained national recognition when "Down Beat" magazine featured it as one of the top college bands. Hamline's Jazz Band was also honored at the 1985 Elmhurst College Jazz Festival in Illinois, which at the time was considered one of the top collegiate jazz competitions (20). Steve Anderson ('88) was awarded best pianist; Sue Hanson ('87) won saxophone and composition awards, and Gene Ford ('87) was honored in vocals (29). The Jazz tradition continues today with enthusiastic enrollment and incredible musicians.

Concert Band did not enjoy the success and recognition that the Jazz Ensemble did. To begin with, this performance group was not as popular with the students. Students had belonged to concert bands during their high school years and wanted to experience something new so they tended to shy away from what they considered the ordinary. Prof. Paul Pizner also directed the Concert Band, but found it difficult to hold students to the requirement of being in both jazz and concert bands. A few years after this rule was put into affect, the Jazz Ensemble grew rapidly and became so busy with performances that Pizner had to allow students a break from appearing in the Concert Band. He did not want to spread the student's talents and practice times too thin so he began to grant exceptions to this requirement. Soon after, this stipulation disappeared (20). In the fall of 1983 or 1984, the Concert Band disappeared due to lack of interest. This left the Sinfonia as the only remaining classical group at Hamline (12).

Believe it or not Hamline also used to have a Marching and Pep Band, but it was short-lived. For two years around the late 1960's and early 1970's a Marching Band could be seen parading around Norton Field during football games (14). This eventually evolved into a Pep Band with approximately 40 or 50 people which was completely student run. Interest soon began to fade and the Pep Band disappeared for almost 15 years (20). Pizner proposed the idea of having another Pep Band in 1985, which made its debut during Parents Weekend at the football game (14). With only 20 members this band again began to fall apart, until now. Janet Greene is currently the advisor to the Pep Band, but the students officially run it. She helps them get instruments, organize meetings and rehearsals, and even get situated in the stands at football games (10).

Professor Shelly Hanson came to Hamline University from California in 1982, with the opportunity to create and direct an orchestra along with other ensembles, while here she also taught Music Theory. According to Hanson, there had not been an orchestra for nearly 30 years since the 1950's. She wanted to form a new orchestra, but renamed it the Sinfonia. The term "sinfonia" can be used for groups with a varying number of members. The main problem Hanson had with beginning a group like this again is that she did not have enough string players. Her solution to this problem unfortunately resulted in quite a bit of work. She would first flip through students file folders and attempt to recruit strings and Sinfonia players in general. She would then begin re-scoring all of the sheet music to be played to accommodate the types of performers she did have and emphasize their strengths. After all this tedious work the Sinfonia was finally born again in 1982, and with great success. During the time when both the Sinfonia and Concert Band were around they had to somewhat share the spotlight behind that of the Jazz Ensemble. But when the Concert Band fell through, the Sinfonia became more important than ever because it was the only remaining major performing group (12). After Shelly Hanson left the department, John Koziol picked up the concert band again and renamed it the Hamline Winds. When Janet Greene arrived she took over the duty of directing it with enthusiasm. The group only plays twice a year, during the holiday season and in the late spring. This somewhat bare concert schedule is due to the different skill level of the musicians and also the time commitment that has to be made to such a major production (10).

Hanson also created and directed many other ensembles while at Hamline University including Baroque Ensemble, Sinfonia Winds, Brass Choir, Brass Quintet, and Woodwind Quintet (13). These ensembles were created in direct relation to the interest of the students. For the enrollment size of Hamline, Hanson was always surprised at the number of ensembles that were formed throughout the course of the year. She also loved the involvement of non-music majors within the different ensembles. The Baroque Ensemble was developed in 1983, for string players, and was seen somewhat as an extension of the Sinfonia. They played mostly Bach and Handel music (13). Sinfonia Winds began as a January-term class but is now referred to as the Hamline Winds, the current concert band. Hanson also had to re-score this music to accommodate her players. In 1982 the Brass Choir was started but soon separated into two groups: the Brass Choir and the Brass Quartet or Quintet. The Woodwind Quintet was also started in 1982 and did most of their performing off campus at major events (12).

Hamline was looking for a string player to add to its music faculty in addition to a director for its dwindling orchestra in the spring of 1996. You was hired for the position and on her first day of orchestra in the fall of 1996 there were a mere five students. With her determination she began to heavily recruit from the freshman class and stabilized the orchestra with 12 members. In addition to students there were also faculty, alumni and community members that played in the orchestra so it really was a community orchestra as well as Hamline's orchestra. Since that first year, thanks to You's dedication, the number of orchestra players has climbed and stabilized in the mid-twenties. She explained that the orchestra is improving and getting to play harder pieces. However, she still has high hopes for the orchestra and has been involved with the Admissions Office to recruit more musicians to Hamline. She has also been in contact with the directors of the youth symphonies in the Twin Cities. You also made some new requirements in the department. All music students must play in The Orchestra, Jazz Band or Wind Ensemble before being allowed to play in an additional ensemble. As a result of the time commitment to the primary performing groups there are currently no other instrumental ensembles on campus. (30)

You also expressed how tough a job it is "to build an orchestra." (30) She experiences many of the same challenges as Hanson did. She explained that in other classes if there is one person more or less it is not a big deal. However, in orchestra she has to first audition everyone, then figure out whom she has as players and then try and find appropriate pieces and sometimes there are not enough instruments. You said, "It is a constant struggle juggling players and pieces around." (30)

In addition to You's involvement with the orchestra and recruiting , she also researched the preparatory music departments at Cincinnati and Northwestern and helped put Hamline's Preparatory Department together which is currently located to the east of Super America on Englewood Ave. You expressed the importance of a preparatory department for getting Hamline's name out in the music community. If students (and parents) have heard or even taken lessons from Hamline's Preparatory Department they are more likely to attend Hamline and even begin to associate good playing with Hamline's Music Department. (30)

Funding for the music department has always been to varying degrees and seemingly unbalanced. In the early 1970's the Jazz Ensemble was receiving great financial support from the Hamline administration and community. However, the majority of the faculty and department felt that there should not be just one ensemble to carry the rest of the music program. They felt that all areas should be funded and "healthy" (20). The funding was there for performances, but when it came time to replace or fix instruments the money could not be found (12). In the late 1970's and early 1980's, funding altogether began to diminish. According to Pizner, after the Jazz Ensemble's trip to Spain, in 1979, funding dropped out because other departments began asking for money to do the same type of thing (20). Rees Allison states that the department was not sure however, what the financial state was of the university at the time and felt they could not blame the university for this lack of funding (1). The entire university faculty greatly supported the music department though, but could not do anything financially (20). Today, however, the current administration is extremely supportive of the music departments endeavors (1).

Prior to the construction of Sundin in 1989, the musicians mostly played in Bridgeman Hall located in Old Main and the Ballroom. Bridgeman Hall "was old, dirty, and acoustically good for only small groups" (1). One of Hanson's biggest frustrations about the whole music program was not the work of re-scoring music, but all the hard work that went into practicing only to play in an acoustically poor location such as the Ballroom (12).

Finally, in 1988 an incredible gift was given to Hamline's music program. Hamline alumni Lloyd ('23) and Mildred ('24) Sundin donated the money needed to construct a performance hall for the department (19). Hamline University was conducting a fund drive at this time with the goal of raising over $32 million for the university as a whole with certain money designed for specific areas. At the time of the Sundins donation, $20.6 million had already been raised. The funding for the new concert hall would come out of this money more directly from the Sundins (11). It was a great relief when the Sundins stepped in and donated $1.1 million dollars to fund this project. The Sundins were active in the choir and glee clubs while at Hamline. Even with this generous offer, there was still not enough money to build the performance hall everyone had in mind. Prof. George Chu, chairman at the time, met with architects and estimated the cost at over $2 million. Office and storage space was to be included along with both rehearsal and concert halls. In order to reconcile this problem, Hanson proposed that they just build the concert hall because that is what they needed most. Storage and office space could be found in the Drew Fine Arts Building (12). So the architects restructured it and estimated the cost at $1.35 million (16).

In September of 1988 ground was broken for the brand new performance hall. It was expected to be finished in June of 1989 but was not actually completed until October of that same year. When construction first began, the building was under some criticism because of the exterior look and the amount of legroom between the seats. The exterior of the building was supposed to match the other brick buildings around campus and some people were afraid it would not. Once completed though, the look was exactly what the university had wanted (9). The hall would seat 315 people which would still be too small for some choir performances, but comfortably accommodate the rest of the music departments needs (16). One stipulation for the new hall was that it was to be used mainly for Hamline's purposes instead of the community's (12). However, the university still rents Sundin Hall to outside groups for a small fee. This helps to take care of its annual expenses.

On October 7th, 1989 Sundin Hall was dedicated by Mildred Sundin to her husband, Lloyd, unfortunately was never able to see the completion of the hall. He passed just three months after the ground-breaking ceremony (15). Since then, Sundin Hall has made many things possible for Hamline's Music Department. According to Hanson, Sundin is "the best little hall in the Twin Cities" (12).

One very important part of the Music Department, which is sometimes underrated and overlooked, is the chairman. The chairman oversees the operation of the department in terms of its budget, scheduling and curriculum. They also head up employment committees and decide when to hire new faculty. Unfortunately, according to Rees Allison, current chairman, the university is unable to substantially reward its department chairs because of its size. They receive one small reward and are given a one course release. Instead of then teaching six classes, chairs are only required to have to teach five. Typically, the dean appoints someone to chair, they are then able to accept or decline the offer. Many times, the dean will contact the department faculty to ask for recommendations (1).

Russell Harris's last year as department chair was from 1970-1971; he then stepped down in a huff because of frustration. He had been chair for 23 years and was now ready to retire that position to someone else. He continued however with teaching Music Theory and Music History. Harris wanted more time to himself and said that the job was getting to be too much work for one person to handle. According to Allison, Harris was not able to communicate the complexity of his situation with the rest of the faculty, who were 20-30 years younger (1).

In addition to Harris' resignation as chair, Robert Holliday also resigned from Hamline. After the great choir director left in 1971, the department was left to fill a position that would take a lot to live up to. Henry Veld, a visiting professor directed the choir while Holliday was on sabbatical from 1969-1970. Holliday returned for his last year in 1970-1971. (31) In addition to finding a new chair for the department a new choir director also had to be found. At the time, President Bailey, whose family was heavily involved with music, wanted to bring in a close friend of the family. (1) The faculty did not approve with this nominee, so a second choice had to be considered.

Philip Steen received the position of chair as well as director of the choir in 1971. At the time there were problems regarding the faculty and issues about the curriculum that had to be resolved. The responsibility was therefore placed on Steen to resolve these issues and to direct a choir in the wake of the Holliday years. (31)

David Rubbens, director of choir and voice, returned from a sabbatical in 1972 and was up for tenure review. Rubbens did not receive tenure and ultimately left in 1973. Some believed that Rubbens had not shown antiquate progress on his degree and therefore did not receive tenure. (31) However, others in the department felt that Rubbens had been set up for failure. Rubbens, who excelled in the direction of choir and voice students, was given no choir or voice students this year and was forced into solid classroom work, which he struggled with. (1) The changes made in the department under Steen caused great separatism within its faculty and led to an uncomfortable place to make music.

After Steen resigned from chair in 1975, next in line for chairmanship was Rees Allison. For four years Allison remained as chair, but then in 1979 he passed the position on to George Chu, the A Cappella Choir director. For close to ten years, Chu held the position of department chair and was able to make many things possible for the department. He over saw a majority of the construction of Sundin (17). He also began a reconstruction of the music major, which took root in the fall of 1980. The music theory and music history classes were separated, proficiency exams were added, along with the option of concentrations (18). In 1988 though, women took over with Carol Kelly appointed as chairman. She, also a part of the vocal half of the department, was a great asset to the program according to Pizner (20). Currently, Allison sits as chair since 1992. Allison saw this as an opportunity to reshape the image of the department chair. After two retirements and a resignation, Allison thought it was time for something new. He took the task on with excitement. This being his second time as chair, he has gained valuable experience with the department itself as well as the workings of the department and the university (1).

Hamline University has also produced some of the most outstanding musicians in the Twin Cities. Many have continued with music as a profession and others just enjoy it as a hobby. Steve Anderson ('88), an incredible pianist, has done countless things with his music degree from Hamline. Currently he is the new pianist for Manheim Steamroller, a group widely recognized for its seasonal music (3). While at Hamline though, he took part in the great jazz program and actually won a national award as best pianist at the Elmhurst Jazz Festival (29). In 1994, Anderson "accepted the position of Audio Director at NorthWord Press. He, along with this company, has produced more than 48 nature music albums. He has recorded two albums himself, which are entitled Song of the Ocean and Piano Impressions. However, you will not find the name Steve Anderson in a record store because he records under the name "Steven C" (4).

Chris Nelson, also a graduate of Hamline and student of Paul Pizner, now lives out in Los Angeles, California where he produces and composes the music scores for high budget films. He has even received the distinguished award of an Emmy for his incredible work. (20)

The future looks bright for Hamline's Music Department with the resent growth and enthusiasm. Students will continue to play in Sundin Hall and work under the direction of outstanding faculty. The department has come a long way since the chaotic times of the 70's and when asked what the strengths of the department are You responded, "My colleagues are extremely dedicated and able, outstanding musicians. Many changes are being made in the department but the faculty is supporting them. The department is very comfortable to work in and everyone is kind and nice to each other." Hamline's Department of Music has evolved to be a department, which has found balance, strength, and support from its diverse faculty.

Works Cited

1. Allison, Rees. Interviewed by Beth Flaherty and Rich Hooley. Tape Recording. St. Paul, MN, 23 Oct. 1998.
2. Anderson, Lisa. "Jazz band to play blues and bop." The Oracle Nov. 1981.
3. Anderson, Steve. Interviewed by Beth Flaherty and Meghan Johnson. Tape Recording. St. Paul, MN, 11 Nov. 1998.
4. Bauer, Heidi. "Hamline grad turns to nature for musical release and success." The Oracle 28 Apr. 1995: 1.
5. Bestland, Sandra. "Allison's chamber group to perform Sunday night." The Oracle 19 Oct. 1973.
6. Carlson, Lois Rae. "Rees Allison, pianist, to give concert this Sunday." The Oracle 26 Feb. 1971.
7. Carlson, Lois Rae. "A Shift of Musicians." The Oracle 17 Sept. 1971: 7.
8. Fissinger, Laurie. "Ten Enjoy English Musical Interim." The Oracle 11 Feb. 1972.
9. Giles, Greg. "Sundin stays on schedule; described as 'well-run'." The Oracle 10 Mar. 1989: 1.
10. Greene, Janet. Interviewed by Jenny Dekarsky. Tape Recording. St. Paul, MN, 11 Nov. 1998.
11. "Hamline fund drive seeks $32 million." St. Paul Pioneer Press 9 Oct. 1989: B2.
12. Hanson, Shelly. Interviewed by Beth Flaherty. St. Paul, MN, 26 Oct. 1998.
13. Hargrave, Michelle. "A crescendo of instrumental groups keeps music students upbeat." The Oracle 26 Apr. 1985: 9.
14. Hargrave, Michelle. "Hamline Pep Band is unveiled." The Oracle 4 Oct. 1985.
15. Hiatt, Christina. "Dedication emotional scene." The Oracle 6 Oct. 1995: 1.
16. Jones, Eric. "Almost completed, Sundin 'gives feeling of intimacy'." The Oracle 8 Sept. 1989: 1.
17. Knieff, Rachel. "Chu replaces Allison as music chair." The Oracle 19 Sept. 1980.
18. Miller, Cathy. "Music major changes tune." The Oracle 21 Mar. 1980: 6.
19. "Music hall construction begins." St. Paul Pioneer Press 29 Sept. 1988: B2.
20. Pizner, Paul. Interviewed by Beth Flaherty, Brent Neveau and Brian Shaw. Tape Recording. St. Paul, MN, 21 Oct. 1998.
21. "Professor works to satisfy yearning for sea." St. Paul Pioneer Press 11 July 1983:D1.
22. Raich, Jennifer. "New faculty feel at home." The Oracle 5 Oct. 1979.
23. Reichard, Kevin. "Winkler wins Nielsen violin competition." The Oracle 12 Sept. 1980.
24. Reuther, Brigitte Kay. "Musical Offering Ensemble performs at Bridgman." The Oracle 9 Nov. 1979: 8.
25. Simmons, Deborah. "Krenek traces development of contemporary music." The Oracle 7 Nov. 1975.
26. Swanson, Mike. "Kelly preserves in plastic." The Oracle 2 May 1980.
27. Unknown author. "11 New Faculty Named Musical Chairs in Old Main." The Oracle 10 Sept. 1971.
28. Unknown author. "Allison an accomplished accompanist." The Oracle 4 Dec. 1970: 5.
29. "Unknown title." St. Paul Pioneer Press 31 Mar. 1985: E34.
30. You, Yali. Interviewed by Sarah Donahue. Tape Recording. St. Paul, MN. Nov.1998.
31. Steen, Philip. Interviewed by Beth Flaherty and Rich Hooley. Minneapolis,MN, 2 Dec. 1998.

FORTE! Home Instrumental: Choral:
1854-1872 1920-1950 1920-1950
1880-1910 1950-1970 1950-1970
1910-1920 1970-Present 1970-Present

Hamline University