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Currently at Sousa

From Nickeline to Electric Oil: Early Marketing and Design Revelations for America’s Trombone, Sousa Archives and Center for American Music, University of Illinois at Urbana-Champaign, September 26, 2016 – July 21, 2017.

Arthur Pryor, Ralph Corey, Kid Ory, and William “Willy” Cornish were exceptional trombone soloists at the turn of the twentieth century who brought the trombone center stage from the back seats of America’s concert and jazz bands.  The instruments that these leading trombonists played on and often endorsed during this time were manufactured by such companies as C.G. Conn, Frank Holton, Henry Lehnert, F.E. Olds, C.W. Osgood, and Morceau.  Each company’s latest innovation for their instruments’ new metallurgical enhancements, slide oils, water keys, mouthpiece designs, and finishes were celebrated through newspaper advertisements in music magazines, company display shops at most the country’s World Exposition Fairs, and live performances by the musicians and bands that utilized these instruments.  The collaborative interaction between manufacturer and performer not only led the way for new trombone designs but also helped promote the trombone as America’s most popular instrument of the brass family.  Through historical advertisements, photographs, sheet music, and music instruments from the Sousa Archives’ trombone collection, this exhibit will explore changes in American trombone design and manufacture between 1890 and 1925 to illustrate how these technological and performance enhancements to the trombone were jointly shaped by the country’s leading trombonists and the music instrument companies that continually sought the endorsements of these musicians to help market their professional and student model trombones across America.

Stage Center Slides!  Stories of Sousa’s Spectacular Trombonists, Sousa Archives and Center for American Music, University of Illinois at Urbana-Champaign, July 29, 2016 – June 16, 2017.

After the Sousa Band trombone section’s performance to record crowds during Chicago’s Columbian World’s Exhibition in 1893, Sousa’s exceptional trombonists Arthur Pryor, Marcus Lyons, and Edward Williams established a new showmanship standard for playing trombone solos that was emulated by many concert bands throughout America. After Pryor left Sousa’s band as its trombone soloist and assistant conductor in 1903 to take over and reorganize his father’s Pryor Band, Leopold Zimmerman became Sousa’s solo trombonist. Zimmerman’s talented student, Ralph Corey, joined the Sousa Band the following year and in 1908 became the band’s principal trombonist, a position he held until 1920.  Each of these world-class trombonists and the many other trombonists who played in the Sousa Band between 1893 and 1931 helped shape the unique performance role of today’s trombone in American wind ensembles.  Through historical photographs, concert programs, and music this exhibit explores the different stories and musical contributions made by Arthur Pryor, Leopold Zimmerman, Ralph Corey, Frank Holton, Manuel Yingling, Edward Williams, and Marcus Lyons who both influenced America’s trombone performance practice and played for the John Philip Sousa’s exceptional band.

From the Illiac Suite to the Sal-Mar Construction: Illinois’ Pioneering Experimental Music Studio, Sousa Archives and Center for American Music, University of Illinois at Urbana-Champaign, January 19 – October 1, 2016.

In 1952 the University of Illinois’s ILLIAC supercomputer was the most powerful piece of technology in the world, capable of executing countless calculations in the blink of an eye and leaping over humanity’s boundless memory.  But could it create music?  This question was posed by several of the university’s experimental music composers.  In 1956, Lejaren Hiller and Leonard Isaacson devised a program for this machine to become more than a mere business tool. They constructed an artificial collaborator capable of composing music.  Later in 1962, Salvatore Martirano continued these experiments by using the original TTL boards of the ILLIAC II to build his Sal-Mar Construction, an analog and digital collaborator capable of continuously improvising music.  Through photographs, original music, diagrams, graphic art, and reports this exhibition traces the development of early computer music and the University’s of Illinois’ Experimental Music Studio from 1952 to 1975.

Pierre-Louis Gautrot’s Sarrusophone: A Maverick of the Woodwind Family, Sousa Archives and Center for American Music, University of Illinois at Urbana-Champaign, September 28, 2015 – August 29, 2016.

Like the Tyrannosaurus rex and Crocodilian Steneosaurus which roamed the earth over 65 million years ago, many exotic music instruments that were created by ingenious inventors ranged the world’s concert stages during the 19th and early 20th centuries. Today, the strangeness of such mechanical wonders as the sarrusophone and rothophone, much like the fossilized bones of pre-historic creatures, continue to intrigue and amaze us. We cannot deny that these two instrument families had a life and musical purpose. However, their evolution over time followed a similar Darwinian fate as the dinosaur experienced millions of years before, because the sarrusophone and rothophone were unable to meet the evolving needs of the music profession. This exhibition examines the legacy of these two exotic instruments from the woodwind family and Adolph Sax’ patent infringement lawsuit against Pierre-Louis Gautrot.

James Beauchamp and the Harmonic Tone Generator, Sousa Archives and Center for American Music, University of Illinois at Urbana-Champaign, September 22, 2015 – December 31, 2017.

James W. Beauchamp earned his bachelor’s and master’s degrees from the University of Michigan in 1960 and 1961, and in 1965 he graduated from the University of Illinois with a PhD in electrical engineering. While a student at Illinois he worked closely with his mentor and composition professor Lejaren Hiller, and created one of America’s first voltage-controlled electronic music synthesizers called the Harmonic Tone Generator (HTG). The HTG was used in several different electronic music projects produced at the University of Illinois during the 1960s and 70s including Salvatore Martirano’s Underworld.  After graduating from Illinois he joined their electrical engineering faculty, and by 1969 had earned a joint appointment in the electrical engineering and music departments.  Between 1969 and 1973 Beauchamp served as director of the School of Music’s Experimental Music Studios (EMS), and as director of the Computer Music Project (CMP) between 1984 and 1993.  In the fall of 1993 Beauchamp and Sever Tipei became co-managers of CMP.  This exhibit documents through photographs, stories, scientific reports, and audio recordings the early development of the HTG at the University of Illinois.

The Red Cross: A Soldier’s Best Friend, Sousa Archives and Center for American Music, University of Illinois at Urbana-Champaign, February 11, 2015 – December 15, 2016. 

Clara Barton, who earned recognition as the “Angel of the Battlefield” for her humanitarian service during America’s Civil War, founded the American Red Cross in May 1881 as an associate relief organization of the International Committee of the Red Cross Organization.  However, unlike its international associate, the American Red Cross devoted most of its early service efforts to provide relief for those individuals from the United States affected by natural disasters, such as the San Francisco earthquake of 1906, and the 1918 Spanish flu pandemic.  During America’s involvement in WWI, both the International and American Red Cross played a major role in arranging transportation of volunteers to the Western Front to aid soldiers injured during battle; and in 1917, the Red Cross received the only Nobel Peace Prize awarded between 1914 and 1918.  The American public lauded these volunteers for their devotion to the troops, and many of America’s popular songs were written to honor the men and women of the Red Cross.  This small exhibition of sheet music cover art graphically illustrates America’s diverse portrayals of the Red Cross volunteer during the Great War.