Jerrold Pritchard:  

CLASS OF 1959
North highlands, CA
Cedar falls, IA
Seattle, WA
Sacramento, CA
Sacramento, CA

Jerrold's Story

Life I am now fully retired after five of phasing out with half-time employment. I have reached that reflective age, where you wonder where all the time and all your plans went while you were so busy. It has been a very interesting and enjoyable life, and while it didn't turn out as I expected, I have had some tremendous opportunities to travel widely and often, work with and meet well-known, respected, fascinating and complex people, and to even influence change and improvement at the schools and universities I have worked at. I have been married three times now. I have two sons from my first marriage to Virgina York, who I met at CSU Sacramento and married while we were in grad school in Seattle. We were divorced in 1976. My oldest son just finished a PhD in Clinical Psychology and my youngest is a struggling poet and writer. My second wife, Loydene Bartholemew Cawelti, and I were married in 1978. I met her while teaching at Univ. of Northern Iowa, where she was Director of Student Activities and Student Development the Student Union. I followed her to Texas when she became Dean of Students at Southwest Texas State University. She retired in 2003 as Dean of Students/Assoc VP at Cal State University, Fullerton. We were divorced in 1992 In 1994, I married Janyce Johnson Spell, whom I had known for years while we were married to other people. She has a PhD in Child Development and Family Ecology from Michigan State University and she was working at Western Carolina University before we got together I met her through her first husband, (who is also a flutist) from conventions, and from correspondence with her publication, The Flute Network, which goes monthly to over 6500 flute players and teacher worldwide. (I am fairly well-known as a flutist, but Jan knows or is known by every professional flutist and flute teacher in the U.S.!) She is really a sweetie and I think I finally got it right this time...it helps to have a wife who has a training in child development and who knows how to take care of a big overgrown baby like me.) I retired from CSU San Bernardino in June 2004, months of more than full-time but I continued to work half time for and 5 years. In summer 2009, we left So. California after 25 years and moved to West Linn, Oregon, a close-in suburb of Portland, to a wonderful new house. Such a green and lovely place. All best to all the Highlands grads from the school's first graduating class in 1959. Jerry Pritchard School --Attended Elementary schools all over California and Nevada (We moved a lot) --Sutter Jr. High School (Sacramento) --Rio Linda Junior High 1954-56 --Grant Union High School 1956-58 --Highlands High School, Graduated in 1959) --CSU, Sacramento, B.A.in Music 1964 --CSU, Sacramento, M.A.in Music 1966 --University of Washington, Doctor of Musical Arts degree (DMA) in Flute Performance and Conducting 1969 Additional Studies: --Post-doctoral Study and Research at Univ of Oxford, England 1974-75 --Aspen Music Festival School Participated in Master Classes with Marcel Moyse, Julius Baker, Geoffrey Gilbert, Michel DeBost. College I was fortunate to go to CSU, Sacramento when the State of California was still supporting education well. Tuition was free and total incidental fees for parking, student activities and health services were just $48 a semester! Sac State had only 3500 students when I entered but grew rapidly during the six years I was there for the BA, MA and teaching credential. The faculty was excellent and dedicated to teaching. The curriculum was outstanding, especially in the large and comprehensive general education core requirements. I was fortunate to be there at a time when things were small enough for there to be opportunity for many leadership roles in student clubs, activities, and musical groups. I participated in student government, the student newspaper and literary magazine, foreign film society, etc. During my last two years I was drawn into a number of civil rights and anti-war groups and participated in a few rallies and demonstration, though I was mostly on the fringes due to my commitments and obligations in musical events and groups. I was especially lucky to get some professional experiences playing in local symphonies, bands, and musical comedy at the early stage of my education and career. (I didn't realize at the time what a special situation that was.) I was active in contemporary music and played with the UC Davis New Music Ensemble in a number of adventurous experiments and premiers of new works by composers writing in the aleatoric, multimedia, and exploratory styles of the time. I also wasted all too much of my youth trying to learn to be a jazz improviser and and "doubler" on flute, saxophone, and clarinet, in hopes of becoming a recording "studio musician" in the Hollywood film and record studios. After a rather disastrous year of teaching junior high school band, orchestra and and 8th grade mathematics as well as doing part-time graduate work, I fled to Europe for six months of travel and study. (The mid-1960s was a great time to be young, free, hitch hiking, visiting museums, hearing opera and symphony concerts, meeting interesting strangers, and generally on the loose!) On return home, I finished my master's degree in flute performance at CSU, Sacramento. I spent the next three years completing a Doctor of Musical Arts degree under a Rockefeller Foundation Fellowship at the University of Washington in Seattle. I wa...Expand for more
s allowed to develop an unusually broad program, which included work in music education, conducting, music history, and nonmusic courses in intellectual and social history as well as flute performance. (I'm sure I would have become a better performer if I had focused primarily on the flute, but I have always been very broad in my interests and basically tried to be a generalist in a field that demands a high level of specialization.) Nonetheless, I was fortunate to gain some wonderful professional experience playing in the Seattle and Tacoma opera companies, doing lots of avant garde and experimental music, and subbing in the Seattle Symphony as well as teaching privately and as a teaching assistant in music history and Humanities. I spent 1974-75 on sabbatical leave from the the University of Northern Iowa in England at the University of Oxford, where I attended lectures and did research on music history as well as background reading in art history, philosophy, literature and all those things you should have studied early on but never did because you were too busy with rehearsals and practicing. (Also had a wonderful summer touring France, Italy, Austria and Germany living in a VW van.) I have participated over the years in a number of summer workshops and master classes with some fine performers, including the participation in the Aspen Music Festival School and Orchestra. I continue to study, practice and improve my flute playing...not for any particular goal except for my own amazement at the beauty of the sound and depth of the composer's ideas. Workplace My life has been spent as a flutist, music teacher and university administrator. (I, of course, had lots of clerical and manual labor summer and part-time jobs that were a very valuable part of my education--they taught me what I didn't want to do for a living!) I spent a rather disastrous 1964-65 school year at Rio Tierra junior high school in No. Sacramento teaching band, orchestra (and 8th grade mathematics, which I had absolutely no aptitude or background for.) After finishing my master's degree 1966 and doctorate in 1969, I was hired at the University of Northern Iowa, where I taught flute, saxophone, concert band, and music literature for 11 years. This was an ideal setting for me: a university of 11,000 students, which had a splendid tradition of music with over 40 full-time music faculty members and 450 music majors. (Oh, but those long, cold winters and blistering, humid, summers....) Eventually, I became Chair of the Instrumental music division of the UNI Music School, and then spent three years in a university-wide position at UNI as Director of Liberal Studies, Honors Program, and Interdisciplinary Studies-- which changed the direction of my whole career: I found I was quite good at administration and enjoyed assisting students and faculty in reaching their goals and developing interdisciplinary courses and programs. In 1980, I moved to Austin, Texas, where I really became entrenched in administration as Director of Academic Programs for the Texas Higher Education System Coordinating Board, doing program review, legislation and policy development, and traveling to all 37 state universities. (Texas is truly another county!) In 1983 I became Associate Vice President for Academic Affairs at California State University, San Bernardino, 65 miles east of Los Angeles at the base of a mountain range. A beautiful young campus which has now grown to 18,000 students. I was responsible for long range planning, curriculum development, program review and accreditation, justifying, designing and setting up new buildings and branch campuses, establishing televised and Internet instruction, policy development, space allocation...and writing endless reports to the CSU system office and legislature. I have continued to work in teaching music methods and music history courses as well as the flute. Though I don't earn my living as a musician any longer, I still consider myself a flutist. I almost never let a day go by without playing the flute and I still perform regularly on recitals and in chamber music. Most of my real progress and deepest involvement in flute playing and teaching in the past 20 years, however, has been during the summers at flute workshops and master classes: From 1989 to 1995 all the CSU system campuses joined together to hold a big summer arts festival at Humboldt State University up in the redwood forests at near the Oregon border, where I organized and participated in flute master classes and coordinated workshops and performances with many well-known artists from all over the world. For 6 summers we have been going to Lunenberg, Nova Scotia to participate in the Boxwood School of the Wooden flute, where I have learned the joys of playing 18th and 19th century music and Celtic Music on one-keyed and simple system flutes. My recurrent retirement fantasy is to spend my time playing the flute and drinking beer in an Irish pub.) I am currently 68 years old and have been playing flute for a long time: Whenever things are not going smoothly, I just tell myself, "Well, it's the best you could do on only 50 years notice!" I still am improving as a flutist and, in fact, (though my average level of playing is not as high as it was when I was engaged in music full-time) when I practice consistently my best playing is excellent and getting better. As one of my idols, Marcel Moyse, said "It is just a matter of time, patience and intelligent work."
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