The Summer Creative Scholarship program was created in 1964, but it lasted only three years, due largely to student-faculty tensions and the chronic underfunding seemingly endemic to art programs. In 1987, Kaspar Locher, professor of German and humanities (now emeritus), decided the program needed another chance. With the help of then- president Paul Bragdon and student Sarah Dougher '90, Locher resurrected the scholarship program, which celebrated its tenth anniversary this summer with a formal dedication of the program in his honor.
The scholarships, funded by the student senate, the college administration, and alumni donations, award $1,750 to three or four students each spring. The money goes to projects intended for com- pletion during the summer months, which are then pre-sented to the community in the fall. Award recipients are selected by a committee of representatives from the division of arts and the division of literature and languages. This summer, scholarships were awarded to Kathryn Babson '99, for works of creative nonfiction; Adrienne Heath-Stiefel '97, for a sculptural book installation; Alexander Krebs '99, for composition of a musical piece for didjeridoo, mouth harp, a handmade harmoniphone, and throat singing; and Amberlyn Mathis '98 and Jennifer Randall '98 for composition and choreography of a group dance piece.
Krebs became interested in the scholarship program when he performed a jazz composition by a previous recipient of a Summer Creative Scholarship. He decided to apply in order to further explore throat singing and "the natural acoustical phenomena of the overtone series." The scholarship, said Krebs, allowed him to travel to a small auto-nomous region of Mongolia called Tuva to study indigenous overtone singing. The scholarship "provided me with more than just financial reimbursement for my time," he said. Besides allowing him to explore an area of artistic interest, it has also brought him to the attention of a larger academic audience: he has been asked to present a paper to the National Mongolia Society in Washington, D.C., in March.
Krebs says that because Reed's music department is small (four professors), he looks to other opportunities like the scholarship program to help expand those boundaries. "If music were my only focus in life," he explained, "I would have considered Juilliard or Berklee or some conservatory. But it's not, so I'm here at Reed." Krebs is planning a double major in music and physics. Due to the size of Reed's program, Krebs, like many other Reed artists, participates in activities outside the Reed community; he plays tenor saxophone in jazz clubs around Portland. Krebs finds the Reed music faculty "extremely resourceful." While he feels the lack of specialization, Reed offers a great deal in terms of quality rather than quantity.