Tomoko studied composition and theory, including counterpoint, with Sol Joseph. A Phi Beta Kappa scholar at the University of Chicago, Mr. Joseph joined the Conservatory after his stint in the U.S. Army during World War II. As a professor of music theory, he taught music form and analysis, harmony, counterpoint, and music literature; he also conducted the Conservatory orchestra.
When he retired in 1977, Sol Joseph was awarded an honorary Doctor of Music degree, the second one granted with the first recipient being awarded in 1974 to Isaac Stern. By that time, she had a dozen years of fond memories of him as a fellow faculty member, making her transition from student to colleague. Then when the Conservatory relocated downtown to the Civic Center area, one of the new constructed recital halls was named in memory of Sol Joseph. This intimate performance room seats 121, and its acoustics favor small ensemble performances. Whenever her students perform in that hall, Tomoko still sees Sol Joseph in her mind, and remember his support of her efforts throughout the years.
Tomoko also knew another side of Sol Joseph: his Jewish background and musical life as an organist at Congregation Sherith Israel and pianist of the Jewish Folk Chorus. Occasionally she mused about their strangely linked war experiences: he as a Jewish army officer in Europe, she as a child in a country that fought his. Although they never talked about those years, neither harbored resentment against each other but secretly shook their heads about the dire ramifications of political hate. Even music sometimes abetted such anger as patriotic song could move people to fight for their countries. “What power music can have to polarize or to unite,” Tomoko sighed. Both she and Sol were musical uniters in their teaching and performance.
