How many Grammy Awards did one of William Vennard's students, Marilyn Horne win?
William Vennard William Vennard (31 January 1909 Normal, Illinois – 10 January 1971 Los Angeles, California) was a famous American vocal pedagogist who devoted his life to researching the human voice and its use in singing. He was one of the driving forces behind a major shift within the field of vocal pedagogy during the middle of the 20th century. Along with a few other American singing teachers, such as Ralph Appelman at Indiana University, Vennard introduced contemporary scientific research in the areas of human anatomy and physiology into the study of singing. This shift in approach led to the rejection of many of the beliefs and practices held since the bel canto era, most particularly in the areas of vocal registration and vocal resonation. Vennard was renowned as an excellent teacher whose written works have influenced generations of singers, vocal pedagogues and voice scientists. He taught many successful singers including acclaimed mezzo-soprano Marilyn Horne, who studied under him at the University of Southern California.
William Westney William Frank Westney (born 1947) is an American classical pianist and professor of music. Westney was the top piano prize-winner of the Geneva International Music Competition, and he appeared thereafter as soloist with such major orchestras as l'Orchestre de la Suisse Romande and the Houston, San Antonio and New Haven Symphonies. Westney holds a Bachelor of Arts degree from Queens College in New York and a Masters and Doctorate in performance from Yale University, all with highest honors. During his study in Italy under a Fulbright grant he was the only American winner in auditions held by Radiotelevisione Italiana. Solo recital appearances included New York's Lincoln Center, the National Gallery and Phillips Collection in Washington, D.C., St. John's, Smith Square in London, National Public Radio ("Performance Today"), and a U.S. State Department tour of Italy. His pianism has been described as “formidable” (New York Times), “rich and distinctive” (Avanti, Milan) and “glorious” (Straits Times, Singapore). Critics have praised his recordings of solo and chamber works for CRI and Musical Heritage Society, and Newsweek.