The life-changing event [for me] was the 10-week European (USO) tour with the "Statesiders." The Lyric Ensemble became the Statesiders in their music show, representing the OSU music department, in their tour for our service men in Germany and France. It was an educational experience in European culture along with learning how to tour a show. I learned so much about myself as a performer and person, building independence and strength. It was so personally educational, that I have continued sharing that experience with choral students whom I have taken on music tours since becoming a choral director.

I certainly enjoyed walking on to the [Hughes Auditorium] stage to sing my bachelor and master final recital performance.

Eve Anne Yaw Wilkes  
BME 1958, MA 1974
Voice (BME) — Irma Cooper / (MA) — Mario Alch
Lyric Ensemble (Statesiders) and OSU Choir

I was a member of Men's Glee (1981–1983) and sang in a Barbershop Quartet for special shows. We used to practice in the third floor men's room because the acoustics and reverberation were so good there. One time, after finishing a particularly rousing number, we heard spontaneous applause out in the hall, where a crowd had gathered to listen to our practicing. If only we sounded that good on stage! I still have many close friends from my undergrad and grad school days in Hughes Hall.

All of us voice majors used to call the second floor "Hughes High" because all the voice faculty studios were there, and we all had lockers on that floor. Changing classes each day was our social time, when we made plans for study parties or weekend tailgates.

Timothy Brooks
BME 1979, MA 1983
Voice — Helen Swank
Symphonic Choir, Men's Glee Club

Reading The Lantern in the old Hughes Hall music library my freshman year. It was something out of the 1950s with the hot water radiators and old fashioned wood library tables. Practicing ear training in the old basement listening lab was also an experience. The pitch of a held note would wobble 20 or 30 cents as the reel-to-reel tape recorder changed speeds.

The building was a dump as long ago as the 1970s, but it was our dump. The building custodian became ill my first year and the university did not send a replacement. Over time the waste baskets disappeared under a mountain of trash. When a cleaning crew finally materialized, they cleaned the floor with snow shovels. I took my freshman music theory final on the Oval as the hallway filled with smoke during the test. Our TA got David Meeker who called the university Fire Marshal. That guy took one look and yanked the fire alarm. At night we practiced in our professors' studios due to lack of space. Hughes would be lit up like a Christmas tree until student security cleared the building at 11 p.m. Talk about the inmates having the keys to the asylum.

Thomas Hastings Burkey
BME 1978
Euphonium — Paul Droste
Concert band, military band, Gray band

My studies at the Ohio State School of Music were life-changing. I entered the program as a shy 17-year-old piano major. Throughout my years at the university, I built self confidence, found my passion for accompanying singers and developed a lifelong love for performance. Voice professor Irma Cooper took me under her wing, mentored me through the years, and encouraged me to attend AIMS in Graz, Austria — which I did.

I am grateful for the musical training and wonderful opportunities I had at Ohio State. Those early years provided the foundation and confidence that I needed to forge my music career.

Hughes Hall was home away from home for many of us. It was in Hughes Hall that I met my lifelong friends, with many of whom I still carry fond memories. The hallways and front steps of Hughes Hall served as gathering places for friends to laugh, share and lament. Inside its walls, we grew the much-needed roots for a successful future in music.

Janet Buswell
BM 1978, piano performance
MM piano performance coursework
Piano — Sylvia Zaremba and Robert Brooks
Women’s Glee Club

I'll never forget the spring of my senior year (1970) at Hughes Hall. I was accompanying Al Laszlo on a cello studio recital when the fire alarms in the building went off. These were the days, after all, when campus demonstrations against the war in Vietnam were a common event. Then on May 4, the killing of four students at Kent State led to the closing of that school and Ohio State. When classes resumed, I was allowed to give my senior piano recital, but at noon time rather than at night, and my parents were not allowed on campus, which was definitely a letdown. I'm hoping, though, when the pandemic finally lets up, to come back and visit Ohio State and see the new music facility, especially since my 50th reunion could not be held in 2020.

Nelly Maude Case
BM 1970, MM 1972, PhD 1984
Piano — Richard Tetley-Kardos
Symphony Orchestra (1st chair viola, 1966–70)
String Orchestra (1st chair viola, 1968–70)

As a percussionist in Hughes Hall, I spent a great deal of time in the elevator. The rehearsal rooms were on the first floor, so many instruments had to be moved down from the practice rooms to the rehearsal rooms and back again. This could happen numerous times a day. The percussionists had great attitudes and made up games as the fourth or fifth move in a day was pretty tiring.

I came to Ohio State as a classical pianist who also played timpani, snare drum and drum set in high school. Choosing to be a percussion major meant I had to gain technical percussion skills I did not master in high school. I was taken under the wing of the best senior percussion major my first year, and after I practiced scales, arpeggios and basic technical skills every day, he would come and sight read duos with me, every day for an hour, usually at 9–10 p.m. He was like a sight reading Marine! By the end of that first year, I was the best sight reader in my class.

Robert John Chappell, Jr.
BM 1972, BME 1972
Percussion — Dr. James Moore
Concert Band, Brass Ensemble, Percussion Ensemble

Walking into the tiny bassoon studio on the third floor in August 1976, as the new bassoon professor — a dream come true.

The first rehearsals for me in the Orchestra (Sibelius #2, Mr. Hardesty), and Concert Band (Dr. McGinnis), scared me to death.

Robert Cochran
BME 1972, MM 1973
Bassoon — George Wilson, Charles Fligel
Orchestra, Chamber (Little) Orchestra, Concert Band

After teaching music in public schools for 13 years, I was employed in the School of Music as an administrative assistant in music education for 30 years.

As an organ major (the department was dropped in 1988), I had access to three practice pipe organs on the fourth floor that were removed in the 1980s and 1990s.

Thomas Harold Cook
BME 1972, MA 1977
Organ — Dr. Wilbur Held / Piano — Richard Tetley-Kardos
Buckeye Scarlet and Gray Bands

I was taking a Music History class with Dr. Moss at 8 a.m. I was also going through hell week with my fraternity, Beta Theta Pi. I had stayed up most of the night at the frat house and was ordered to attend my 8 a.m. class. I made it to the room and sat down in my seat. I ask my friend sitting next to me to wake me up when the class was over. I put my head down and was out for the count. When I awoke the first thing I remember was someone saying, “He’s awake!” I raised my head and looked around to find a different teacher and different students. I looked at my watch and was amazed to see it was 11:20 and that I had slept through 3 classes. I composed myself, gathered my books and things and walked out of the room to thunderous applause! I found out later that my sleeping adventure had become quite the topic of conversation in Hughes Hall that morning.

We all enjoyed the upstairs practice rooms. 

David William Curtiss
BME 1972
Voice — William Whiteside
Symphonic Choir, Chorale

I loved having the practice rooms on the top floor. In warm weather, the windows could be opened and it was great during breaks to stand at those windows and look at the Oval or out the other end of the hallway. There was a lot of camaraderie amongst the students up there. I also really liked going to the music library on the ground floor and getting the instruments for the methods classes in the basement from the nice person in charge of them. Dr. Platt, Sylvia Zaremba and Maurice Casey were all very inspiring teachers.

Mary Fahrenbruck
BME 1973, MM 1976 (University of Michigan), DMA 1990
Piano (BME) — Dr. Rosemary Platt / (DMA) — Sylvia Zaremba
University Chorus, Concert Chorale

It was 1977, when the crew for my recital did not show up and my trio and I had to move the piano on the stage.

Judged for many events in that building and Saturday afternoon master classes with all of TK's students in his office.

Elizabeth Fleisher
MA 1977, MM 1983
Piano — Richard Tetley-Kardos
Piano Duos / Voice Duos

There was a tribute concert coming up for Dr. Richard Burkart, professor of trumpet. I knew many of his former students would be coming into town to play for it. At 10 p.m. I left work in the Music Library (Sullivant Hall) and walked out into a spring evening, fragrant with the lilacs and hyacinths on the Oval. Because it was so warm, the windows were open in Hughes Hall, and I could hear the trumpet group practicing. Listening to them one by one, I could identify who had arrived by their tone, and happily ran over to Hughes to meet them. A perfect evening!

We were all assigned lockers, and mine on the third floor was somehow RIGHT NEXT to the locker of an older student I had been dating since high school. We both enjoyed popular piano music of the 1940s–60s, and would leave sheet music as messages in each other's lockers — like "How Soon Will I be Seeing You?" or "Five Minutes More." Sounds corny, right?  But it was fun and romantic.

Elizabeth C. Foushee
BME 1977
Bassoon — Charles Fligel, Linda Smith, Robert Cochran
Concert Band, Scarlet Band, ROTC Band, Woodwind Choir, Woodwind Quintets, various Woodwind Ensembles, Bassoon Choir

Walking on the ledge of the fourth floor, looking into the practice rooms. Risky, but fun.

Loved rehearsing for Choral with Maurice Casey, standing in a circle on the stage of Hughes Hall. Also, student recitals in Hughes Hall.

Diane Kesling 
BM 1978
Voice — John Muschick
Chorale, mixed choir

I began in the instrumental education program on flute. I struggled under my TA for 2 1/2 years, worked hard but was devastated when she wouldn't pass me after almost 3 years into the program and 3/4 finished with my music education courses. I recovered and when my first instrument choice did not work out, I went to my class voice teacher Helen Swank — one of the finest educators ever. She told me my gift was my voice. She helped me prepare tirelessly, I auditioned and was accepted into the voice area where I studies under a full professor and flourished. I studied 12 or 13 straight quarters and it took me an extra year to graduate, but in the end, I earned my teaching certificate: K-12, vocal, instrumental and general music.

I enjoyed summers studying with the best guest artists as well as Professor Hickfang, who wanted me to switch to performance, but I just wanted to graduate and teach others to love music. Music heals my soul still... and I thank Ms. Cooper, Mr. Hickfang and all those who believed in my talent. It was the worst of times, it was the best of times, you might say. I am proud to be a graduate of The Ohio State University School of Music.

I spent many hours up in those practice rooms, working every moment I could on both my flute lessons and finally with my vocal accompanist John Kim Bell (for 3 years) rehearsing and preparing to be the best vocalist that I could be. Lots of hours sitting on the floor in those rooms on the fourth floor, practicing and listening to my friends practice... learning all that I could. When I think of Hughes I think of the 4th floor first, and always with joy and pride in perseverance.

Karen Stumpf Lewis
BME 1975
Voice — Irma Cooper
Scarlet and Gray Bands, University Choir/Symphonic Choir — Paul Hickfang, director

Performing my recital in 1978 with my friend Jayne. Then 40 years later, attending the recital of a mentored student, with my friend Jayne accompanying him!

In the fall of 1978, I attended Careers in Music Day. As I entered Hughes, I knew Ohio State and the School of Music was where I belonged!

J. Mark Lowe
BME 1979
Trombone — Joe Duchi
The Ohio State University Marching Band, Trombone Choir, Scarlet Band, Small Ensembles

I was a TA in 1970 teaching a music theory class in one of the upper classrooms facing the Oval. Massive anti-Vietnam riots were breaking out around the country and soon spread to Ohio State where thousands were protesting shortly before the Kent State massacre. Over 500 State Police with tear gas and brigade from the National Guard with fixed bayonets appeared on campus trying to quell the angry crowd while the university continued classes as though nothing was happening. Above the fray on the second floor I diligently sought to engage my students with the wonders of the augmented 6th chord, ignoring the madness outside as it became more disruptive and violent. When I'd turn to the blackboard they'd jump up to watch the clashes and mayhem developing below. Of course I knew what was happening but I was young, keen and for some reason wanted to play a "macho man" teacher determined to share the joys of a slick harmonic progression no matter what. As I began to draw the leading tone resolving upwards and the seventh descend, a tear gas canister flew through the open window and started whirling around on the floor. I played calm, cool and collected, clearly out to impress my young audience. I quickly kicked the flaming canister out the door into the hallway and made them sit there, gagging, as l completed the chord's resolution. They were choking with tears streaming down their faces when I quietly uttered, "class dismissed" and we all hurled ourselves out of the building as fast as we could, gasping for air. Many years later I ran into one of my students who told me all she remembered about music theory that year was the tear gas resolution of an augmented 6th chord. We had a good laugh, then she went on to say how cool they thought it was until they got outside and realized just how really stupid I'd been. I couldn't agree more. We laughed again and all I could say was "I was young."

In 1969–72 Hughes Hall became symbolic for me as a young DMA composition student by what the building came to symbolize. It was iconic for me, but perhaps for a different reason than for many of my colleagues in other fields. In the 1960s the School of Music was a very conservative institution with virtually no contemporary music taught or performed when I first arrived. I had come to OSU on a scholarship to dodge the draft and study contemporary music. To its credit The School of Music covered its contemporary music void with an impressive array of outside guest composers and speakers. Guests like Herbert Brün, Zygmunt Krauze and David Behrman inspired us young composers to form a new music group we provocatively called "The Junta for New Music." Our first activity was a concert of recent American avant-garde music. We booked Hughes Auditorium for rehearsals, but when one of the administrative staff heard what he considered ear-splitting cacophony, we were banned from the building and told to rehearse elsewhere. Hughes quickly became the icon for what we young radicals considered stodgy old-fashioned music-making. The music emanating from Hughes was worthy, well done, important, but from another era and Hughes represented that era. For us it came to represent only the noble past and ironically even its address, 1899 North College Road, confirmed it. It didn't look like us, bearded and barefoot, nor did it want us, so we moved our activities to the Dance Department and out into The Oval on sunny days, attracting large crowds. We were young and rebellious with fire in our bellies. Being banned from Hughes was actually a gift and made us more creative, energetic and resourceful. It was something solid to bump up against, challenge and outwit. Now over half a century later it is with great fondness that I look back on those heady times, realizing now how important something like being banned from Hughes was in shaping me as a freelance composer based in London and touring the world.

I take great delight in what went on there and how important it all was in shaping me in a positive way for my lifetime as a freelance composer and wouldn't change anything if I had to do it over.

Stephen Montague
DMA 1972
Music Composition
A new music ensemble called "The Junta for New Music"

I fondly remember sitting on the steps of Hughes Hall with other students on pleasant spring days.

I remember spending many hours in the few practice rooms with grand pianos. Also, it was interesting to walk in front of the building on nice days when practice room windows were open, hearing the musical mixture of so many students practicing.

Jill (Steenrod) Peters
BME 1978
Piano — George Haddad
The Ohio State University Marching Band, Trombone Ensemble

Each spring the percussion studio and Coyle Music would hold a day of percussion with a VIP celebrity drummer capping the day with the Jazz Ensemble. The guest one year was a young Peter Erskine.

Yes, many fond memories... like practicing the oboe sitting on the ledge outside the 4th floor practice rooms. The 4th floor rooms had no air conditioning, and they were very hot that spring quarter... but I had to learn the oboe for Dr. VonGreunigen's woodwind methods class!

Jim Rupp
BME 1979
Percussion — Dr. Moore, and grad students Jack Jenny, Dave Eyler, Linda Pimentel
Drum set — Jim Curlis
The Ohio State Marching Band, Concert Band, Orchestra, Jazz Ensemble, Percussion Ensemble

Being chairperson of the Delta Omicron recital, I learned that for an hour recital there should be 40 minutes of music. The rest of the time is taken up by stage changes. I also learned that playing completely through my recital at the end of the day, every day for two weeks prior, prepares one very well.

Practicing at 7 a.m.; It's really easy to get a practice room at that hour!

We called the music school "Hughes High School" because everyone knew everyone, and we spent most of the day in that one building.

Ann Baumgartner Schnapp
BM 1978, MA 1983
Viola (BM) — Robert Culver / (MA) Martin Kelly
Chamber music, Symphony Orchestra

I loved learning all families of instruments, especially percussion and strings. The percussion teacher invited me to participate in the then all-male ensemble which performed around Columbus. It was 1973 — the landmark year of women being welcomed into the marching band. I am eternally proud I was privileged to break ground in one small ensemble.

In the late 1960’s, many practice rooms in Hughes Hall were drab. However, any time two or more students gathered in one of these to practice or improvise, the space was divinely transformed. Great fun and friendships, great and not-so-great music, strong connection and creativity ran rampant. It was a beautiful time, a tantalizing taste of musical joys to come.

Loretta Ferlito Shaffer
BME 1976
Voice — McHenry Boatwright
University Chorus — Maurice Casey

My first rehearsal in Symphonic Choir in Hughes Hall auditorium as a freshman, having sung with my high school choir only a few months earlier and now singing with so many upperclassmen and graduate students with such remarkable voices all around me, was an emotional experience for me. With all of the rich vocal sound around me and trying to sing with a lump in my throat and blurry eyes, I remember thinking, "What am I doing here?" It was the first of many "mountain top" musical experiences over the next four years singing with the Ohio State choirs.

I remember how nervous I was walking into Maurice Casey's office to audition for choir the first time. I also remember, as if it were today, the familiar smell of Mr. Casey's pipe whenever I was in the general vicinity of his office. I have fond memories of voice lessons with Dale Gilliland in his studio, music theory classes during which time I grew to have a love for the subject and for teaching it to others, a love which is still with me today, 50+ years later, and my graduate recital in the Hughes Hall auditorium.

Roger Wayne Stagge
BME 1971
Voice — Dale Gilliland
Ohio State Chorale, Symphonic Choir, University Chorus

Our methods class was visited by Dr. Robert Carpenter. His compassion for teaching in the “inner city” inspired me to go on to grab in the Columbus City Schools.

I was a trumpet major but I loved playing jazz piano on the grands in the fourth floor practice rooms.

John W. Stahl
BME 1977
Trumpet — Tom Battenberg and Dr. Burkhart
Marching Band, Concert Band, Dixieland Jazz Band, Athletic Band

1973 Das Unaufhörliche and Blood Wedding premiere and my singing roles in each.

Gertrude Kuehefuhs pulled me out of the Hughes hallway to turn pages for the audition of a violinist who played Beethoven’s Kreisler Sonata. The powerful energy of her accompanying outplayed the poor candidate's audition.

Douglas Starr
BM 1974, MM 1975, DMS 1978
Voice — John Muschik
Summer choir

Jack O. Evans made a special impression on me in life. Donald E. McGinnis also had a good influence on me, not only at Hughes Hall, but many years later at a National Flute Association Convention.

I remember meeting with other students in the basement, having nice chats.

Julie Anne Stern
BM 1970
Flute — Joseph Lord
Buckeye Gray and Scarlet Bands, Early Music Ensemble

The feeling that every single member of the faculty and staff had our backs!

How I was totally out of breath on the first day of each quarter (walking up all the stairways from my locker to the 4th floor in order to practice) as compared to how I felt weeks or months later.

Joyce Kubit Stonebraker
BM/BME 1978, MA 1985
Piano — Richard Tetley-Kardos
Symphonic Choir

I remember being frustrated beyond words with a piece assigned by my freshman piano professor. It was beyond my capability and I flunked my jury spectacularly. In fact, solo performance was not my jam. Ever. Had it not been for professors who saw the musician within me, I would not have continued the pursuit of my degree. I switched to Ms. Zaremba who coaxed, encouraged, and challenged me to complete my piano studies. I remember the relief when I had my final piano jury — she walked out, smiled, and said, “we did it!”

Having most of my classes in Hughes, it was a real gift to have a locker! (We jokingly referred to it as “Hughes High School.”) Piles of music, scores, textbooks, etc. were swapped out in between classes. When I had to trek across campus to another non-music class, Hughes was my home base. When I lived off-campus, the listening lab doubled as a lunchroom, where many of us ate lunch and listened to music for analysis or music history (back in the day it was a dial-up library and listening via large headphones). I gave my recital in the auditorium, a place where there were hours of rehearsals for choir and small ensembles.

Deborah Grace (Harsh) Vaughn
BME 1978
Piano — Sylvia Zaremba
Marching Band (Paul Droste), Symphonic Choir (Maurice Casey)

I loved the camaraderie of the music students. I always felt like I belonged to a great group of people. Teachers were kind and classes were fun. I feel like that same camaraderie exists among today's music education students. They lift each other up, supporting and encouraging each other through very busy days.

In the days before Weigel Hall opened, there was no lobby area or other space for students to gather. I remember eating lunch with my friends in the basement of Hughes, sitting on the stairs into Hughes 100!

Jayne Wenner
BME 1977, MA 1988
Piano — Dr. George Haddad
Women's Glee, University Chorus, Community Orchestra

Climbing the steps to the practice rooms was always  a challenge — particularly when I had to carry a cello from the basement to the 4th floor — 88 steps. I also had the opportunity to play the celeste for an opera premiere. That was a lot of fun.

I tried out for the School of Music on a lark. I never dreamed I would be accepted. I can tell you that I became a far better pianist (and musician) than I ever dreamed I could be. Mine was truly an arts education. By the time I graduated though, I knew that music teaching was not for me. The students in the classes where I student taught couldn’t read the words to the songs I was teaching. That eventually led to my calling in special education where many of musicians [also] land.

Elizabeth Davis Wetherholt
BME 1974, MA 1977
Piano — Miriam Mooney
Women’s Glee Club

I remember one time when the concert band was recording, Dr. McGinnis stopped the session and told someone to "tell the sackbuts rehearsing in the corridor to stop playing.”

My first introduction to Hughes Hall was in 1962 or 1963 when I was in junior high. I had been playing saxophone since elementary school and decided I needed to learn clarinet to play in the dance band. I started taking clarinet lessons at Hughes Hall from Dr. Titus. I decided to go to Ohio State for college. I continued studying clarinet With Dr. Titus and also Mr. Lord, and even a summer with Dr. McGinnis.

Hughes Hall was definitely a special place for me. I remember how worn down the steps were from so many feet traveling up and down them over the years.

Linda Lee Nack Wilson
BS 1972, music education
Clarinet — Robert Titus
Woodwind Quartet and Sax Quartet

Miss Eileen Bonney inspired me to become an elementary general music teacher. Until then, I had not considered it. Her Elementary Methods class and her teaching method inspired me. I must add another story. My grad voice recital was May 1, 1970. It had to be moved to an off-campus church due to the riots. I got credit for it, but did not get a reel-to-reel copy of the recital since it was not held in Hughes Hall. Of course Kent State was just three days after my recital.

I enjoyed having Donald Simmons as the Women's Glee Club director (his son J. K. Simmons is the Oscar-winning actor, who is nominated again this year). I was tapped as a piano accompanist for one of the group's songs for an LP record featuring the School of Music students.

I was warned by some that Ohio State was "too big" — but the School of Music was like a high school where the music majors took many courses together (as long as they didn't flunk out!). I recall how the practice rooms on the top floor were small and close together, and not soundproof! One of my favorite music courses was Sight Singing and Dictation — I got straight A's; my least favorite was Music History, held at 8 a.m. Monday–Friday for three straight quarters. I like history, but that instructor at that hour was not inspiring to say the least. I did not audition for entry as others, due to a misunderstanding. I entered Ohio State the summer of 1967 right after I graduated from high school. Since I had no voice audition, the school arranged for me to take lessons from none other than the late Paul Hickfang (opera man and a giant way over 6' tall!). He also had red hair. He gave me the thumbs-up to go ahead and major in voice. I remember being scared of him, although he was very nice. I also recall Maurice Casey. I sang in University Choir two quarters with him. The first concert was The Messiah — Casey's conducting methods were unique to say the least. These are memories that I still recall.

Susan Lee (Curry) Winchell
BME 1970
Voice — Irma Cooper (final instructor)
Women's Glee Club

Robert Shaw coming and conducting the student choruses and orchestra in Brahms Requiem.

I remember feeling extremely loved and special because my family and friends literally filled Hughes Hall Auditorium for my junior voice recital.

David Andre Bennett
BME 1993, MS 1998, MS 2009
Voice — Eileen Davis
University Chorus

My favorite memories in the building were made in the instrument room with Ray Spillman and the many friends I made there. Ray made it a home away from home. He truly loved the students, celebrated with us, listened to us, and would give a loving "kick in the pants" when needed.

Much time was spent in the 4th floor practice rooms, and it wasn't always practicing. I will never forget hearing someone knocking on my practice room window. My friend (who shall remain nameless) was standing on the ledge with some beverage to share.

Traci Lynn (Keller) Brandt
BME 1993, MA 2000
Trumpet — Dr. Burkart
Symphonic Band, Jazz Ensemble, Marching Band, Athletic Bands

Christian Lindberg came to Ohio State to record a CD, and he gave a master class in Hughes 109. He presented his master class standing up, but at one point, he pulled out a chair to sit down, while he demonstrated a very challenging tonguing exercise, in the extreme high register of the trombone  (steady double-tongued sixteenth notes, loud, on the F at the top of the treble clef). When he finished this demonstration, he paused for a few seconds to catch his breath, and one of the OSU students raised his hand to ask "why do you sit down for that exercise?" to which Christian responded, "because if I play it standing up, I faint."

When I was in Ohio State's chapter of Phi Mu Alpha, we stored some rarely-used materials in a disused space under the Hughes stage. One night as several of us were gathering the materials for a fraternity ritual, someone started a song, and when we all joined in, we discovered wonderful acoustics of that oddly-shaped space. We convened fraternity meetings there several more times, just to sing!

George Carr
BM 1994
Trombone / Bass trombone — Joseph Duchi
Concert Band, Symphony Orchestra, Jazz Ensemble, Marching Band, Trombone Choir, Trumpet Ensemble

I was fortunate enough to get a work study position in the instrument room with the incomparable Ray Spillman. His care with the instruments — and especially the students who needed them — helped me quickly find a family in the School of Music. I got to meet so many fellow music students. We had fun study sessions for theory or music history there. We practiced our instruments or just sat and chatted about home or future plans. We discussed the problems of the world and learned we were all better off having each other to share the moments with and Ray was always there with a quick quirky answer or comeback that always made us laugh and brighten our day. I have so many cherished memories from the Instrument Room in Hughes Hall!

Hughes Hall 4th floor held many, many hours of practice time for me as a music major! My favorite memories of my time there, are when the cute, young, curly-haired boy — a fellow horn player from our studio — and I would practice together and try to compete for who could play the best! We have now been married for 25 years! We saw 20 years of teaching and now own and operate a set of music stores in northeast Ohio. We still enjoy that healthy competition from time to time, and are grateful for all our days and the lessons we learned in the School of Music at THE Ohio State University.

Julie Anne Curtis Connair
BME 1998
Horn — Charles Waddell
Voice — Loretta Robinson
Concert Band, Symphonic Band
Women’s Glee, Symphonic Choir

I had a locker in Hughes Hall, and my (now) wife (BS Chemistry, 1994) would slip a note into the vent slits sometimes during a school day. Before cell phones, it was our method of texting! "Meet me for lunch at the Flying Tomato," "Have to work late in the lab tonight," or maybe a note of encouragement, flirting, or even a crossword puzzle from The Lantern that needed help. Likewise, I could tuck a note for her there — or write it in pencil on the front — so we stayed connected despite our very different majors.

The orange curtains of the stage made an indelible first impression. I can still picture the view from the stage, looking out at my family while singing my junior and senior recitals with pianist Barbara Sahr. Then celebrating in the "opera workshop" room at the south end of the first floor.

In a less official way, I remember the practice rooms on the top floor were so hot in the winter that everyone had to leave the window open or suffocate (which played havoc with the pianos there)!

Andrew Crow
BA 1995
Voice — C. Patrick Woliver
Men's Glee Club, Chorale

Favorite guest artist memory — Robert Shaw visiting as emeritus professor and conducting all the university choirs and orchestra in the Brahms Requiem.

As a 9th and 10th grader, I took my first horn lessons in the practice rooms on the 4th floor of Hughes Hall with grad student Kent Larmee. Six years later I returned as a transfer student to complete my BME. I often rose very early to meet the custodial staff when they opened the building at 6 a.m. so I could practice uninterrupted on the 4th floor for a couple hours before my first class. And my favorite room to practice in, when I could get it, was the first floor room with the high ceilings on the end of the hall nearest the quad (Oval). They were good days and years!

Sarah (Witt) Haas
BME 1994
French Horn — Chuck Waddell
Concert Band, Symphony Orchestra

As primarily an ear player, I had a very difficult time with music theory. I spent the first quarter sweating it, sure that I would have an F in the class. I still remember the day when I was in class in Hughes Hall with Lora Gingerich teaching, and all of a sudden a light bulb went off in my head. I'm not sure what she said or showed us, but it was as if the curtain parted and I could see the light. Truly suddenly, theory made sense! So much so that I ended up switching majors to music theory and composition. I spent HOURS in the Hughes Hall practice rooms — rarely practicing flute, as I should have, but rather playing piano, singing and writing things down — which worked out better for me in the long run!

I remember one specific time, hiding and panicking in the first floor girls bathroom at 7:50 a.m., just before a music history test. It was a test over Chant, which I struggled to identify differences in at the time. Another friend of mine was hiding and panicking there the same day. That was a safe place for a lot of us!

Sarah Hart
BA 1991
Flute — Katherine Borst Jones
Symphonic Ensemble

It was an average spring quarter day when we walked in to Form and Analysis class. Dr. [Burdette] Green was staring out the window while we were seated, and he continued to stand silent and stare out the window for some time after class was supposed to have begun. As he continued to stare out the window, he began to speak. "Do you know what building that is? It's the art department building. Do you know what those boxes on top are? They are air conditioning units. Why does the art department have air conditioning and we do not? Because art majors are soft. Musicians, we're tough." He then went on and continued with class as normal.

I remember how perfect having music history in the basement at 7:30 a.m. was. Totally the right atmosphere for that class.

Steve Kauffman
BME 1994, MA 2004
Tuba — Robert LeBlanc and Jim Akins
Symphonic Band

My wife Barb noted my interest in music. She suggested attending some "older folks" classes. I did that. But while doing so, I asked myself, "Why not just enroll as a regular student?" And that's what I did, and I became a 57-year-old first-year. Then, one day I asked Jim Gallagher if I could join Men's Glee Club. He said OK which led to my first MGC concert. While taking my place on the risers, I caught Barb's eye. Her smile was so bright and happy. After graduation, I taught elementary general music in Westerville City Schools.

I was captivated by the way a person always held a door open for someone else.

Jim Keyes
BME 1999
Voice — Karen Peeler
Symphonic Choir, Men's Glee Club

In the basement auditorium of Hughes Hall, I attempted to perform the Bitsch "Four Variations on a D. Scarlatti Theme" during fall of my sophomore year, during a brass section recital. It went so badly that I left the School of Music at the end of fall quarter and started pursuing an engineering degree. Two years later, I returned and completed my music education degree, while successfully performing the same piece during my senior recital.

I loved the central practice room in each hallway of the fourth floor. Although they were the smallest, they had the most window space, and were bright and cheerful spaces.

John Konicek
BME 1997
Trumpet — Richard Burkart
Wind Ensemble, Marching BAND

I used to love chatting with Ray in the basement instrument repair room.

The building had a unique character; the lecture hall, the oddly large auditorium, the creepy practice rooms, and the extremely slippery-when-icy marble steps. Very fond memories and stories indeed.

Stephanie Hall Lange
BME 1997, MA 2005
Clarinet — James Pyne
Symphonic Band, University Band

Monday night flute studio getting performance experience. Playing degree recitals for myself and participating on others' recitals as well. Taking instrument repair with Ray Spillman.

Coming back in 2019 and teaching a guest class for KBJ’s studio in Hughes Hall.

Amy Likar
MM 1994, DMA 1999
Flute — Katherine Borst Jones
Orchestra, Wind Ensemble

Hughes Hall was a special place where I practiced and had my recital and reception. Most of my music classes were in the building. The instrument room in the basement was often a place I visited. Some of my favorite classes and teachers had offices in the building.

The rooms with the glass block were often used for history and methods courses. Just a beautiful space. I remember walking out onto the stage for my recital and seeing so many friends and loved ones there to support me. Always was home to me as a music major.

Dana Boos Matunas
BME 1997
French horn — Chuck Waddell
Symphonic Band, Marching Band, Horn Ensemble

I met my husband in Hughes Hall. At first, I thought, who does this guy think he is? Then we started going out to lunch together with the group, and one day I was standing at my locker, and he came up behind me and put his arms around me, and I thought, "I could get used to this." And 25 years (this May) and two kids later, we are still making music together.

The thing about Hughes Hall I remember is that it helped me stay in shape. The elevator was waaayyyy too slow to take on a regular basis, so I got pretty fast at climbing the stairs from the ear training labs in the basement to the practice rooms on the 4th floor. Doing that while lugging a heavy backpack on a daily basis was a good workout!

Beth DeLong Pittman
BME 1991, MA 1994, MM 1996
Voice — Eileen Davis and Karen Peeler
Ohio State Chorale, Women's Glee Club

I have the fondest memories of Ray Spillman's instrument room in the basement, which was an absolute nexus of the universe! His instrument repair class was the single most practical and useful course I have ever taken in any of my four music degrees.

The practice rooms! From those old-school double doors that liked to open unexpectedly, to the occasional commentary from construction workers fixing the roof, to the commiserations and deep conversations that we had late into the evenings as we all were trying to figure out life and music and everything in between. I spent so many hours there, learning how to be a creative human and a professional clarinetist. 

Dr. Elisabeth Stimpert
BM 1997
Clarinet — James Pyne
Wind Ensemble, Orchestra, I Clarinetti Virtuosi

My fondest memory of Hughes Hall was my late-night practice sessions, where many of the most dedicated students (and faculty) would hone their craft. The conversations around music and the amazing music being practiced in those times continue to push and inspire me today.

I remember the long wait for the elevator in the basement while I carried two (sometimes more) instruments so I could ride up to the 4th floor to practice.

Casey Grev
BM 2012
BME 2012
Saxophone — James Hill
Wind Symphony, Saxophone Quartet

The never-ending joys of performing in Hughes Hall Auditorium with the sounds of trucks and construction happening just outside the door! Performing in that hall prepared me for performance in any condition! Hot, cold, noisy or quiet!

I always loved walking the building in winter meeting all of the prospective students there for audition days or OSU Honor Band. I was once one of them, and loved sharing information about the school with them as we toured and got our workouts in on the stairs to the practice rooms!

Arthur Joshua Robinson
BM 2015
Horn — Bruce Henniss
Wind Symphony, Symphony Orchestra

I recall very vividly the first time I performed on the Hughes Auditorium stage at the first year voice recital in 2012. It was the first time in my adult life that I felt like I'd truly found the "thing" I'd want to do for the rest of my life.

I remember the joy and pride I had when I became a master's student in voice after having completed the BM degree, and how much fun I had with my cohort in our offices on the fourth floor of Hughes. I won't miss the paper wasps that would take over much of the building during the summers BUT I will certainly miss the excitement of sitting in front of the voice board prior to my lessons and coachings with Dr. Robin Rice and Ed Bak.

Justin T. Swain
BM 2016, MM 2018, MA 2018
Voice — Dr. Robin Rice and Dr. Scott McCoy
Symphonic Choir, Lyric Opera Theatre

I will never forget the evening I participated in a masterclass with Michael Sachs, principal trumpet of the Cleveland Orchestra. Getting to play for him and receive guidance was a surreal experience. I will always cherish hearing him say “First of all, I wish I’d had that sound at your age.”

Matthew Zelnik
BME 2014
Trumpet — Dr. Rich Burkart
Wind Symphony, Trumpet Studio