Tribute to James Gillespie, Editor Emeritus

James Gillespie, honorary member of the ICA and Editor Emeritus of The Clarinet, passed away on June 18, 2026. He leaves a lasting and global legacy of clarinet scholarship and pedagogy, both through all the students he taught directly and through his work as writer and editor of The Clarinet.

by Rachel Yoder, with Robert Walzel, John Scott, and Rose Scott

EARLY LIFE

James Gillespie in his youth.

On November 30, 1940, James Ernest Gillespie, Jr. was born to Evelyn (née Ray) and James Ernest Gillespie, Sr. in Tazewell, Virginia, a small town of 7,500 in the hills of the Appalachians, near the twisting Clinch River and with vista views of its surrounding farmlands.

Gillespie began studying clarinet as a third grader, and though reportedly the smallest player in the band, he did not let that slow him down. He graduated from Tazewell High School in 1958 as its salutatorian after representing his town and school as a member of the Virginia All-State Band for four successive years and as a participant in Boys State.

After high school, Gillespie received his undergraduate music degree from Concord College (Athens, West Virginia) in 1962 with a BS in music education, studying clarinet with David Lewis. He continued his studies at Indiana University, Bloomington, where he was granted both Master of Music and Doctor of Music degrees “With Distinction” in woodwind literature and performance, with clarinet as his principal instrument, under the instruction of Henry Gulick. His DM document was “The Reed Trio: An Annotated Bibliography of Original, Published Works” (Indiana University, 1969).

After completing his doctoral degree, Gillespie married soprano Cheryl Hopkins, whom he had met at Indiana University.

TEACHING

Gillespie taught for three years at Concord College, one year at the University of Redlands, and nine years at Northeast Louisiana University (Monroe). During his time in California, he took lessons with Mitchell Lurie, who had a great influence on his playing and teaching. In the fall of 1978, he joined the School of Music faculty at North Texas State University (now the University of North Texas) where he taught clarinet and classes including solo clarinet literature and clarinet chamber literature. Gillespie and his longtime colleague John Scott developed the UNT Clarinet Handbook for their students, which included warmups, scale studies, articles, and other helpful information. Gillespie and Scott curated a collegial environment in which all UNT clarinetists met for the same studio class hour, and students were encouraged to learn from and observe lessons of other clarinet faculty. Under their leadership, generations of well-rounded clarinetists graduated from UNT with performance skills as well as deep knowledge of the clarinet repertoire, history, and pedagogy. Many of these clarinetists now teach and perform throughout the US and abroad.

Gillespie was endlessly supportive of his clarinet studio, and at ClarinetFest® he was seemingly omnipresent, attempting to hear all of his former students’ performances and presentations. He was always proud of his students’ accomplishments out in the world.

Tazewell High School Band, 1957-58, directed by Larry Zingare, an early clarinet teacher of James Gillespie; Gillespie is front and center.

EDITORIAL WORK

James Gillespie performing with wife Cheryl Gillespie and Charles Eve, Denver International Clarinet Clinic, 1976.

James Gillespie’s scholarly contributions to the ICA and the global clarinet community are unparalleled. For the first five volumes of The Clarinet, he served as Review Editor. At the August 1977 meeting of the International Clarinet Society in Denver, Gillespie was elected editor of The Clarinet, replacing its first editor, O. Lee Gibson, who was beginning his term as President of the society. Gillespie’s tenure as editor began with Vol. 6, no. 1 in Fall 1978, and he went on to edit a staggering 147 issues of the journal over 37 years. Under his leadership, The Clarinet evolved from a 44-page newsletter to a 100+ page resource for everything clarinet-related. His vision for The Clarinet as part trade publication, part scholarly journal, and part special-interest publication has been maintained to the present day, and has continued to find success with clarinetists and clarinet enthusiasts worldwide.

Gillespie was a skilled writer and communicator, and his kindness and diligence as editor were noted by all who “owed him articles” over the years. He and his wife Cheryl loved to travel, and Gillespie’s adventures abroad helped him cultivate many fruitful collaborations with clarinetists, most notably in Europe and China.

PUBLICATIONS

James Gillespie’s two reference books on clarinet literature became standard references in the field:

• Solos for Unaccompanied Clarinet: An Annotated Bibliography of Published Works. Detroit Studies in Music Bibliography 28. Detroit: Information Coordinators, 1973.
• The Reed Trio: An Annotated Bibliography of Original Published Works. Detroit Studies in Music Bibliography 20. Detroit: Information Coordinators, 1971.

As author, Gillespie published dozens of articles in The Clarinet, including:

• Interviews with Franklin Cohen (1983), Colin Bradbury (1985), John Denman (1977), Pamela Weston (1979), Eddy Vanoosthuyse (2008)
• “The Clarinet Music of Paul Harvey” (May 1974)
• “The Clarinet Music of John Bavicchi” (February 1975)
• “The Clarinet Music of Halsey Stevens” (November 1975)
• “The Clarinet Music of George Heussenstamm” (January 1977)
• “The Clarinetists of the 1997 and 1998 Bayreuther Festpielorchester” (July/August 1998)
• “The Leipzig Conservatory and Its Clarinet Professors” (September 2001)
• “I Wonder Who the Clarinet Player Was” Hollywood Clarinetists series (2002-2004)
• “The Movies of Benny Goodman: A Pictorial Retrospective” series (2005-2006)
• “The Military Band of the P.L.A. of China” (September 2008)
• “Can You Direct Me to Clarinet Street?” series (2010-2011)
• “The Xinghai Conservatory of Music and Its Clarinet Faculty” (June 2010)
• “The China Conservatory and its Clarinet Department” (December 2010)
• “Hamelin’s Pied Piper: An Unexpected American Connection” (June 2014)

Gillespie’s writing for the journal also included countless reviews, event reports, editor’s notes, and staff items.

PERFORMANCE

Jon Manasse, James Gillespie, and John Scott, c. 2006.

While teaching in Louisiana, Gillespie served as principal clarinet of the Monroe Symphony, Lake Charles Civic Symphony, and the Rapides Symphony. In 1976 he served as a faculty-recitalist at the International Clarinet Clinic at the University of Denver. Over his career, he performed in multiple US states in addition to Canada, Stockholm, China, England, Scotland, Japan, Hong Kong, Hungary, Germany, Taiwan, Italy, Belgium, and more. He was a longtime member of the Texas Clarinet Consort which performed throughout Texas and beyond.

His fine playing served as a model of musicianship for his students, especially in his beautiful tone and impeccable intonation. He had a special enthusiasm for the music of British composers, and Paul Harvey dedicated the “I Got Rhythm” movement of his Three Etudes on Themes of Gershwin to Gillespie.

RETIREMENT AND HONORS

In 2007, James Gillespie was awarded Honorary Membership by the International Clarinet Association at the Tokyo ClarinetFest®. In 2011, Gillespie retired from the University of North Texas as a Regents Professor Emeritus. Upon his retirement from editing The Clarinet for 37 years in 2015, the ICA dedicated to him its online collection of issues: the James Gillespie Library.

James Gillespie, Sylvie Hue, and Jean-Marie Paul, c. 2007.

In his retirement, James Gillespie and his wife Cheryl enjoyed many years of travel all over the world. Cheryl passed away in June 2025 after 57 years of marriage.

He may have been “the smallest player in the band,” but James Gillespie was a giant of the clarinet world. The ICA and the worldwide clarinet community mourn his loss, but we are heartened to remember that his legacy lives on through The Clarinet and his many students of whom he was so proud.

Donations in honor of James Gillespie may be made to the James E. and Cheryl Gillespie Clarinet Scholarship Fund at the University of North Texas College of Music.

PERSONAL REMEMBRANCES

“I first made contact with James Gillespie in 2009, on the occasion of an order for back issues of The Clarinet journal—the first one he had ever sent to my country, as he emphasized. In 2010, he published the first article I wrote for The Clarinet, followed by many others. Mr. Gillespie—as I always addressed him out of sincere respect, even though he insisted that I call him “Jim (not Mr. Gillespie!)”—was very helpful and supportive and encouraged me to write about the clarinet in Serbia. Gillespie’s book Solos for Unaccompanied Clarinet was also useful to me. In the autumn of 2015, a group of Serbian clarinetists established the National Serbian Clarinet Association, and an international advisory council within it, composed of distinguished foreign clarinetists. We were honored when Gillespie accepted our invitation to join the Council in early 2016. Through his editorial work in The Clarinet journal, Gillespie significantly broadened the horizons of clarinetists around the world and will be remembered for his valuable contributions to the international clarinet community.”

– Andrija Blagojević,
ICA Country Chair for Serbia

“Some of my most cherished memories of Jim are the lunches we spent together over the years in the UNT faculty lounge. Our talks showcased his intellectual curiosity, humility, kindness, and great sense of humor. He had a natural ability to make others feel at ease by genuinely showing interest in his colleagues’ work and lives.

As my work on musicians’ occupational health developed, Jim quickly became one of its most passionate supporters. He urged me to pursue several research projects focused on the clarinet and, more importantly, helped ensure that this work reached practicing musicians through The Clarinet. At a time when health topics were rarely discussed in music performance, Jim understood that research should stand alongside artistry and pedagogy. Through his editorial guidance, he helped bring these issues into the clarinet community and provided a vital voice for ideas that have since grown into an international movement committed to enhancing musicians’ health and well-being. I will miss his friendship and am forever grateful that he recognized the importance of enhancing musicians’ health and well-being. He used his influence as an editor to help introduce these ideas to the profession. Jim made a lasting impact, not only through the exceptional journal he developed but also by supporting the people and ideas he believed in.”

– Kris Chesky, PhD,
Bloomberg Distinguished Professor,
Peabody Institute and School of Medicine, Johns Hopkins University

“An artist, a scholar, a consummate teacher, a dedicated member of the worldwide clarinet community—Jim Gillespie was all of these and more. But most of all, he was kind. Every encounter I had with him, whether in person at a ClarinetFest® or through email while working out the details of an article for The Clarinet, was filled with his warmth and humor. On countless occasions, I witnessed him extend this same welcoming spirit to others. One of my favorite memories is from the ClarinetFest® in Ghent, Belgium back in 1993. I was walking past a restaurant, and sitting in the front window seat was Jim, enjoying a marvelous Belgian waffle with loads of whipped cream. Our eyes met—fellow connoisseurs of deliciousness! His slightly mischievous smile told me he was enjoying every bite. Jim, you will be most sorely missed, but your contributions, and your kindness, have left an indelible mark and will never be forgotten.”

– Jane Ellsworth, ICA Editorial Board

“I occasionally met Jim at symposia, as he also enjoyed attending the German Clarinet Society’s events. He was always very supportive of my small magazine for reed instrument players. When he stepped down as editor of The Clarinet, I wrote him the German proverb, “When things are at their best, that’s when you should leave.” He included it in his final editorial, which of course made me very happy. I will remember him as a kind, supportive, and interesting person.”

– Heike Fricke, ICA Editorial Board

“It was my great fortune to walk into Jim Gillespie’s clarinet studio as a freshman in the fall of 1980 at what was then known as North Texas State University. I had grown up in the burbs of nearby Fort Worth and had been through several private clarinet teachers. I was in need of a focused, knowledgeable, encouraging, and most importantly, calming presence in my clarinet playing journey. Jim was on my side from day one; he always had my best interests at heart. Because of the solid foundation I received from him, I was a full-time working musician just two years out of college. Through the various iterations of my music career, from the Washington, DC area to Boston, Jim was always cheering me on. His legato smooth sound and ever-present musicality will always remain in my memory. He was my beloved teacher, my biggest fan, and my dear friend; I miss him so much. “

– Marguerite Levin, DMA,
Boston Clarinetist

“I join with many in mourning the loss of Jim Gillespie. The legacy he has left behind both in former students and through his critical contributions to the ICA are tremendous. I consider myself very fortunate to have spent my undergraduate years not only listening carefully to what he had to say, but also studying how he played. When I think back on my lessons with Jim, (who, even after all of these years I still think of as Dr. Gillespie) three words immediately come to mind: patience, musicality, and knowledge. While I had been fortunate enough to receive solid instruction while in high school, his patient step-by-step approach to teaching was simply outstanding and a crucial step in my development. And in performance, I always enjoyed hearing his musicality, and the sweetness of his sound. His encouragement and kindness stayed with me long after I left his studio, and I will always be grateful for the influence Dr. Gillespie had on my life as both a musician and a person.”

– Jim Logan, University of Texas at
El Paso and US Navy Band,
Washington, DC (retired)

“I have such good memories about Jim. We met at several ClarinetFests® and also when he visited Milan with his wife a couple of times. Such a lovely and positive person. I feel honored I was one of his friends. Rest in peace dear Jim!”

– Luigi Magistrelli, ICA Editorial Board

“I began my collaboration with Jim around 1980 about papers for The Clarinet. At the time, I was sending typewritten papers by post, then by fax to save time. I was glad to meet him first at the 1981 Paris Congress and in most of the European ClarinetFests® in Europe (and in Atlanta, 2008). I particularly remember a nice dinner in Madrid in 2015 with us and Alan Stanek. We met every time he came to Paris, as in 2003 with Guy Deplus; 2006 with John Scott and Jon Manasse; and in 2007 at Sylvie Hue’s home (soloist of the Garde republicaine). I will always remember his kindness, his professionalism (wanting perfection for clarinet articles), and his endless curiosity (we exchanged old pictures about clarinet paintings, clarinetists, recordings, everything).”

– Jean-Marie Paul, ICA Editorial Board

“I have known Dr. James Gillespie for over 45 years. I studied with him at UNT, receiving my DMA. He was the most brilliant clarinet pedagogue I have ever known. We were founding members of the acclaimed Texas Clarinet Consort and concertized together extensively and produced numerous recordings. His performances were always outstanding and we had a lot of fun playing together with friends. Jim had a great concept of tone, terrific style, and a true love for the clarinet. My lessons are treasures, and among the highlights of my career. Jim had a very strong traditional clarinet foundation. He was not a man of many words, however, those he spoke were kind and from a loving heart. My fondest memory was him saying to me after a performance honoring him, “Raph, you made a grown man cry!” I shall miss my friend – Aloha Noe, Jim.”

– Raphael Sanders, DMA,
University of North Texas, 1992

“It is difficult to distill the character of someone into a few words, so I will borrow Jim’s own words: ‘Aren’t you curious?’ Curious about people, places, music, clarinets, clarinetists, words, and the list goes on. Ask questions, seek answers, and be kind. This is what made him a great editor, teacher, musician, colleague, and a friend for more than 45 years. I will miss him.”

– John Scott, DM, Professor Emeritus of Clarinet, University of North Texas

“I first met Jim Gillespie while I was still in high school. I played for him at a state festival, and he was most helpful and supportive in that brief interaction (I still have his written comment sheet in my files). Four years later, as I was looking for a graduate program, I reached out to him at the University of North Texas. To my surprise, he not only remembered me specifically, he even recalled the specific work that I had played for him years earlier. I went on to study with him for both my master’s and doctoral degrees, and he became a profound influence on my life and career. He was a brilliant pedagogue: whenever a performance went well, he always found something that could be improved; when a performance was disappointing, he was unfailingly encouraging. Without question, his knowledge of clarinet repertoire, history, and literature was encyclopedic. But beyond that, he was an ideal role model of what a higher education faculty member should be. Even after many years, I still aspire to live up to the professional standards that he set. He was my teacher, mentor, and trusted friend.”

– Michael Thrasher, DMA,
University of North Texas, 1997;
Editor, The Clarinet

“Jim Gillespie was my teacher, mentor, colleague, and friend. As a student, he helped open my eyes to appreciate different ways of playing the clarinet beyond what were my own priorities at that time. Someone once admiringly said of Jim, “He has forgotten more about the clarinet than the rest of us combined will ever know.” Certainly, his many years of work and dedication as editor of The Clarinet contributed to an exceptionally prodigious knowledge and understanding of all things clarinet. To coin a well-known phrase, never in the field of clarinet scholarship is so much owed by so many to a single individual. His passion and advocacy for the University of North Texas and the International Clarinet Association were unwavering. Jim enjoyed being part of something bigger than just himself. In this way, we all can continue to learn from the example of this remarkable gentleman.”

– Robert Walzel, DMA, University of North Texas, 1997; Honorary Member, International Clarinet Association

“Jim Gillespie, forever ‘Dr. Gillespie’ to me, was my mentor, teacher, and friend. It’s impossible to sum up a relationship that had such a profound effect on my life, but there was so much I admired about him: His approach to teaching which was full of helpful recommendations and fingerings for every situation but grounded in patience and trust (“I’m sure you’ll have that passage worked out by next week!”). His encyclopedic knowledge and enthusiasm about the clarinet and its repertoire (what luck to have had classes with him in the solo and chamber clarinet repertoire!). His quiet diligence and vision for The Clarinet (I learned so much from being his assistant before I took over as editor—especially in how he diplomatically handled all the writers and their personalities). His love for Cheryl and his students. His silly and often off-color sense of humor. His Virginia accent, which reminded me of my dad and grandma. His supportive presence in my life. I use so much of what he taught me every time I teach a lesson, and know his lasting legacy will continue to reverberate through generations of clarinetists. I will miss you so much, Dr. Gillespie!”

– Rachel Yoder, former Editor,
The Clarinet

James Gillespie with University of North Texas faculty and students (2013).

Seattle-based clarinetist Rachel Yoder performs in a variety of solo, chamber, and large ensemble roles, including with the Seattle Modern Orchestra, Federal Way Symphony Orchestra, and Odd Partials clarinet/electronics duo. She leads a thriving clarinet studio at Western Washington University and previously served as Editor of The Clarinet, journal of the International Clarinet Association.

John Scott is Professor Emeritus of Clarinet at the University of North Texas, where he served on the faculty from 1981 until his retirement in 2018. In addition to teaching responsibilities, he served as Chair of the Division of Instrumental Studies for 10 years, and Associate Dean for Admission for 15 years before returning to full-time teaching in 2015.

Robert Walzel joined the faculty of the Moores School of Music in Spring 2026 and was appointed Interim Director and Visiting Professor of Clarinet in July 2026. He served as the founding dean of the University of Kansas School of Music and previously served as director of the Schools of Music at the University of Utah and Sam Houston State University. For eleven years, Walzel was Professor of Clarinet at Texas Tech University.