PAS is proud to announce the 2019 recipients of its Lifetime Achievement in Education Award: James B. Campbell, Christopher Deane, and Zhao Ji.
"On behalf of everyone at PAS, I want to congratulate Jim, Chris, and the family of Zhao Ji. I think their body of work speaks for itself on why these educators were chosen for this award. I hope everyone will join us in Indianapolis at PASIC 2019 as we publicly recognize each of them on Saturday evening November 16 at 5:00PM." — Joshua Simonds, PAS Executive Director
PAS Lifetime Achievement in Education Award
The Percussive Arts Society Lifetime Achievement Award in Education was established in 2002 and recognizes the contributions of the most highly regarded leaders in percussion education.
2019 Recipient: James B. Campbell
James Campbell has received worldwide recognition as a performer, pedagogue and author, and is a respected figure in the development of the contemporary percussion ensemble. He has toured extensively throughout The Americas, Europe, and Asia. Currently Provost’s Distinguished Service Professor of Music and Director of Percussion Studies at the University of Kentucky in Lexington, he also holds the positions of Principal Percussionist with the Lexington Philharmonic, drummer with the Kentucky Jazz Repertory Orchestra, and Past-President of the Percussive Arts Society.
Having worked with several DCI member drum and bugle corps, Jim is well known for his long past association with the internationally renowned Rosemont Cavaliers, with whom he served as principal instructor, arranger, and Program Coordinator. He was inducted into the Drum Corps International Hall of Fame in 2008. He served as Percussion Director for the McDonald’s All-American High School Band and was inducted into the Bands of America Hall of Fame, which recognizes individuals who have greatly impacted the nation's band activity and music education.
As a performer, Jim has appeared at the International Society of Music Education World Conference, International Patagonia Percussion Festival, Journèes de la Percussion, PercuSonidos Percussion Festival, Swedish Arts and Musicians Interest Organization, Australian Percussion Eisteddfod, MENC National In-Service Conference, Midwest Band & Orchestra Clinic, MusicFest Canada, All-Japan Band Clinic, The Music for All World Percussion Symposium, State MEA conventions across the country, and frequently appears as an artist at the Percussive Arts Society International Conventions (PASIC).
Among his award-winning works for percussion, Jim has published with Meredith Music, C. Alan Publications, Innovative Percussion, Row-Loff Productions, Bachovich Music Publications, Alfred Publications., and Tapspace Publications. Jim is an artist and endorsee for Innovative Percussion, Evans Drumheads, Meinl Percussion, and a member of the Black Swamp Percussion Educator Network. He is an Artist and Educator for the Avedis Zildjian Cymbal Company and a Performing Artist for Yamaha Corporation of America, Band & Orchestra Division, who recently presented him with their Legacy Award.
2019 Recipient: Christopher Deane
Christopher Deane is a Professor of Percussion at the University of North Texas College of Music teaching orchestral timpani, mallets, and directing the UNT Percussion Players percussion ensemble. He holds performance degrees from the University of North Carolina School of the Arts and the Cincinnati College-Conservatory of Music. He studied with James Massie Johnson, former principal timpanist of the St. Louis Symphony and percussion with Allen Otte. He has also studied independently with Roland Kohloff, N.Y. Philharmonic, Eugene Espino, Cincinnati Symphony and Leonard Schulman, N.Y. City Opera.
Deane is currently Principal Percussionist with the Las Colinas Symphony Orchestra and is Principal Timpanist of the East Texas Symphony Orchestra. He is a frequent performer with the Dallas Wind Symphony and has appeared on five recordings with that ensemble. Deane was the Principal Timpanist of the Greensboro Symphony for nine years and performed with the North Carolina Symphony for ten years. Deane has performed with numerous large ensembles including the Boston Pops, Cincinnati Symphony, Dallas Opera, Dallas Symphony, Detroit Symphony, Ft. Worth Symphony, Minnesota Orchestra, Spoleto Festival Orchestra, Utah Symphony and Virginia Symphony working with conductors such as Leonard Slatkin, Loren Maazel, Andrew Litton, Jaap van Sweden, Jesus Lopez-Cobos, Gennady Rozhdestvensky, and Keith Lockhart. His chamber music experience includes performances with the Percussion Group Cincinnati, Aeolian Chamber Players, Mallarme Chamber Players and the Philidor Percussion Group. He has appeared in more than seventy performances as a concerto soloist with either symphony orchestras or wind ensembles.
Deane was the faculty percussionist for the Bowdoin Summer Music Festival in Maine from 1982 to 1989. Over the course of those eight years Deane worked closely with composer George Crumb performing his music and serving as a consultant to Crumb for works including Idyll for the Misbegotten, Quest, and Haunted Landscapes. Deane served as a percussionist for the American Dance Festival from 1992 to 1996. He has also served as faculty percussionist for the Vale Veneto Music Festival in Brazil.
Deane has recorded as a timpanist, percussionist and Hungarian Cimbalom soloist. He is a featured concerto soloist on two UNT Wind Symphony recordings featuring the concertos of Joseph Schwantner, Russell Peck and William Kraft under the baton of Eugene Corporon. Deane has also recorded the music of Stravinsky with conductor Robert Craft for the Naxos Label, and has recorded with the Detroit Symphony, North Carolina Symphony, Greensboro Symphony, Cincinnati Philharmonia, Mallarme Chamber Players, St. Stevens Chamber Orchestra and the Winston-Salem Symphony.
Deane has won both 1st and 2nd prize in the PAS Composition Competition. He studied Composition with Sherwood Shaffer, Robert Ward, and Charles Fussell, and independently with Ben Johnston. He has received numerous commissions including the Percussive Arts Society, University of Oklahoma, and the University of Kentucky. His music has been performed and recorded internationally and a number of his compositions have become standard literature on concerts and recitals worldwide. Deane has served two terms on the PAS Board of Directors. He is a clinician for the Bergerault/Dynasty Corporation, Black Swamp Percussion, Innovative Percussion and Sabian Cymbals.
2019 Recipient: Zhao Ji
赵纪作为新中国系统学习西洋打击乐的专业第一人，不仅自己学有所成，而且在中央音乐学院教授学生， 着手培养中国打击乐专业队伍，成为了中央音乐学院第一位西洋打击乐教师。留校任教期间，他为国家乃 至世界培养出一大批打击乐专业的优秀人才，诸如安保恒、王向荣、沙玉华、杨矅、刘祖培、惠海水、潘 沃流、王哲生、金纪广、王益光、高力民、吴志安、林振雄、王昆岷等。正是这些举足轻重的名字为中国 打击乐事业的发展奠定下坚实的基础。
As the first person to learn Western percussion systematically in the New Era of China, Zhao Ji not only learned his own skills, but also taught students at the Central Conservatory of Music and started to cultivate the Chinese percussion professional team. He became the first professor teaching Western percussion at the Central Conservatory of Music. During his stay in the conservatory, he trained a large number of outstanding talents for the country and the world, such as An Baoheng, Wang Xiangrong, Sha Yuhua, Yang Lan, Liu Zupei, Hui Haishui, Pan Woliu, Wang Zhesheng, Jin Jiguang, Wang Yiguang, Gao Limin, Wu Zhi'an, Lin Zhenxiong, Wang Kunyu, etc. It is these important names that lay a solid foundation for the development of the Chinese
percussion cause.
1963年，受时任哈尔滨歌剧院院长沙青的邀请，赵纪来到哈尔滨歌剧院工作。虽然生活条件艰苦，但哈 尔滨人质朴豪放的秉性和热爱生活的民风使他备受感染，激发了他的创作灵感和工作热情。赵纪在中央音 乐学院积累的音乐艺术功底几乎都派上了用场，在 奏、作曲、指挥、教学等工作他都有所担当，成为哈 尔滨歌剧院最年轻的业务骨干。由他自己作曲的木琴独奏代表哈尔滨歌剧院参加了数届东三省音乐周，受 到广泛好评；他的独奏参加了历届“哈尔滨之夏音乐会”并多次获奖；他还与著名女高音歌唱家张权、男高 音歌唱家李书年、男中音歌唱家和作曲家王双印、大提琴演奏家李大毅组成了“独唱独奏小组”。赵纪的木 琴独奏《游击队之歌》和《红色娘子军》选曲、《快乐的女战士》等曲目反响热烈，深受欢迎。这场“独 唱独奏小组”演出的音乐会后来成了哈尔滨歌剧院的一个品牌，不仅多次为到访哈尔滨的国宾做专场演 出，还深入基层，到厂、矿、农村、兵团等地巡回演出，足迹遍布东三省。
In 1963, Zhao Ji came to Harbin Opera House at the invitation of Sha Qing, the president of the Harbin Opera House. Although the living conditions were tough, Harbin people's unrestrained nature and the love of life made him feel deeply touched, which inspired his creative inspiration and work enthusiasm. He played a significant role in performance, composition, conducting, teaching, etc. He became the youngest backbone staff of the Harbin Opera House; the xylophone solo composed by himself had been taken to the stages in several music festivals in the three northeastern provinces of China on behalf of the Harbin Opera House. He was widely praised for his solo performances. He also participated in the “Harbin Summer Concert” and won many
awards; he also worked with famous soprano singer Zhang Quan, tenor singer Li Shunian, baritone Singer and composer Wang Shuangyin, and cellist Li Dayi, to form a music group called "Solo Solo Group." Zhao Ji's xylophone solo "Song of the Guerrilla" and "Red Women's Army" selection, "Happy Women Warrior" and other repercussions were warmly welcome. Solo Solo Group's performance became a brand of Harbin Opera House. It not only made special performances for the guests visiting Harbin, but also went to the grassroots level to tour the factory, mine, rural area, and the army corps. Their footprints are all over the three northeastern provinces.
1976年，他建议组建全国第一个专业轻音乐团——哈尔滨歌剧院轻音乐团，以灵活多样的演出形式和轻 松愉快的节目内容呈现给观众，丰富人民群众的文化生活。1981年春，赵纪率轻音乐团开始了第一次全 国巡演，两个多月的时间里，先后在上海、南京、苏州、无锡、常州、杭州、宁波、舟山等城市巡回演出 达几十场，观众反响热烈、好评如潮。在上海演出后的研讨会上，受到了专家们的赞赏，尤其是获得上海 音乐学院资深教授周晓燕先生的首肯，《文汇报》、《新民晚报》等媒体也都给予了报道和高度评价。轻 音乐团在赢得很好社会效益的同时，也为哈尔滨歌剧院取得了丰厚的经济效益。在此后的近十年时间里， 哈尔滨歌剧院轻音乐团红遍大江南北，足迹踏遍17个省、自治区、直辖市，歌声传遍100多座城市。可以 说，他们当年的演出为解放思想、繁荣艺术担当了开路先锋，为流行音乐的发展做出了贡献。
In 1976, he proposed to set up the nation's first professional light music group---- the Light Music Group of Harbin Opera House, to present the audience with a variety of flexible performances and enjoyable programs, enriching the cultural life of the people. In the spring of 1981, Zhao Ji led the Light Music Group to start the first national tour. In the two months of the tour, the group had toured dozens of cities like Shanghai, Nanjing, Suzhou, Wuxi, Changzhou, Hangzhou, Ningbo and Zhoushan. The audience responded enthusiastically. After the performance in Shanghai, they were highly praised by the experts, especially the approval of Mr. Zhou Xiaoyan, a senior professor of Shanghai Conservatory of Music. The media such as Wenhui Daily and Xinmin Evening News also gave reports and high praise. While winning a good social benefit, the Light Music Group has also achieved substantial economic benefits for the Harbin Opera House. In the following ten years, the Light Music Group of Harbin Opera House had been popular nationwide. It had traveled to 17 provinces, autonomous regions, and municipalities directly under the Central Government, and its songs have spread to more than 100 cities. It can be said that their performances played a pioneering role in emancipating the mind and prospering art, and contributed to the development of popular music.
1982年，赵纪被借调到东方歌舞团工作，为一台延安时期的革命歌曲专场音乐会担任配器，并为这场音 乐会组建乐队。
In 1982, Zhao Ji was seconded to the Oriental Song and Dance Troupe to work as a distributor for a special concert of revolutionary songs from the Yan'an period, and formed a band for the concert.
期间赵纪又为东方歌舞团编配了《东方之声》大型音乐会，这场音乐会在北京工人体育馆演出后果然引起 轰动，北京各大媒体都进行了报道，同时也受到了文化部的奖励。 此外，他还作为特邀定音鼓首席，参 加了大型音乐舞蹈史诗《中国革命之歌》的排演。
During the period, Zhao Ji also arranged a large-scale concert for the Oriental Song and Dance Troupe. The performance of the concert at the Beijing Workers Stadium caused a sensation, and was reported on the major media in Beijing and received rewards from the Ministry of Culture. In addition, Zhao Ji also participated in the rehearsal of the large-scale music and dance epic "The Song of the Chinese Revolution" as the chief of timpani player.
80年代中期，赵纪再度回到中央音乐学院，继续他的音乐教育事业。作为音乐教育家，赵纪坚持以学生 为主的独特教学方式，调动学生，启发潜能，培养创造型艺术人才。除了传授专业知识，还向学生灌输做 人的道理。赵纪推崇的“世界上任何有作为的音乐家，首先都是一个爱国者。没有国家，没有民族，那就 将是无根的艺术，一个人的艺德是艺术的核心”的理念深深影响了一大批学生。
In the mid-1980s, Zhao Ji returned to the Central Conservatory of Music and continued his music education career. As an educator, Zhao Ji insisted on a unique teaching approach oriented towards students. In addition to imparting professional knowledge, Zhao Ji also taught students life philosophies. It is his strong belief that "a musician who has a role in the world is first and foremost a patriot. Without nation, it will be rootless art." A large number of students had been affected.
由于当时国内缺乏专为打击乐编创的具有中国特色的曲目，演奏打击乐的学生及专业人士大多选用国外作 曲家编写的作品。为改变这一局面、更好地教学，赵纪潜心钻研、辛勤笔耕，亲自编写了《玛林巴、横排 木琴、梯形木琴基础教程》（1—6卷）、《木琴、玛林巴音节练习》、《玛林巴曲集》、《中外木琴、玛 林巴曲选》、《小军鼓中国作品集》等打击乐专业教材，成为国内西洋打击乐专著最多的学者。
Due to the lack of Chinese-style pieces created for percussion music, students and professionals who played percussion mostly used works written by foreign composers. In order to change this situation and for better teaching, Zhao Ji devoted himself to researching and composing, and compiled percussion textbooks such as "Marimba, Horizontal Xylophone, Trapezoidal Xylophone Tutorial" (volumes 1-6), "Xylophone, Marimba Syllables", "Marimba Pieces Collection", "Chinese and Foreign Xylophone & Marimba Pieces Selection", and "Chinese Snare Drum Pieces Collection", all these made him the most productive scholar in the Western percussion domain in China.
赵纪教授生前曾说过要用自己的稿费报答母校(中央音乐学院)，为完成赵纪教授遗愿，中央音乐学院特此 成立“赵纪打击乐奖学金”基金会，并将其稿费人民币五十万元捐赠给中央音乐学院教育基金会。
Professor Zhao Ji said that he would use his remuneration to repay his alma mater (Central Conservatory of Music). In order to complete the wish of Professor Zhao Ji, in 2017, the Central Conservatory of Music established the “Zhao Ji Percussion Scholarship” Foundation. A total of RMB 500,000 of his remuneration was donated to the Central Conservatory of Music Education Foundation.