"InterArts Collaborative Projects" program

InterArts Collaborative Projects: Workshop, Symposium with HEX Vocal Ensemble (part of the 23rd Annual CSUF New Music Series) 6:00-9:00 pm • May 14, 2024 • Recital Hall

CAL STATE FULLERTON

SYLVIA A. ALVA

President, California State University, Fullerton

AMIR H. DABIRIAN

Provost and VP for Academic Affairs

ARNOLD HOLLAND, EDD

Dean, College of the Arts

CSUF SCHOOL OF MUSIC

DR. RANDALL GOLDBERG Director, School of Music

KIMO FURUMOTO

Assistant Director, School of Music

BONGSHIN KO

Assistant Director, School of Music

SCHOOL OF MUSIC FULL-TIME FACULTY AND STAFF

Faculty

Conducting

Kimo Furumoto – instrumental

Dr. Robert Istad – choral

Dr. Dustin Barr – instrumental

Jazz and Commercial Music

Bill Cunliffe* – jazz piano; arranging; Fullerton Jazz Orchestra, Fullerton Big Band and combo director

Rodolfo Zuñiga – jazz studies, jazz percussion, and music techology; Fullerton Chamber Jazz Ensemble director

Piano, Organ, Piano Pedagogy

Ning An – piano

Bill Cunliffe – jazz piano

Alison Edwards* – piano, piano pedagogy, class piano

Myong-Joo Lee – piano

Dr. Robert Watson – piano

Music Education, Teacher Training, and Teaching Credential

Dr. Christopher Peterson – choral

Dr. Gregory X. Whitmore* – instrumental

Music in General Education

Dr. John Koegel*

Dr. Katherine Reed

Music History and LIterature

Dr. Vivianne Asturizaga – musicology

Dr. John Koegel* – musicology

Dr. Katherine Powers – musicology

Dr. Katherine Reed – musicology

Strings

Kimo Furumoto – Director of Orchestra Studies and University Symphony Orchestra conductor

Bongshin Ko – cello

Dr. Ernest Salem* – violin

Theory and Composition

Dr. Pamela Madsen – composition, theory

Dr. Ken Walicki* – composition, theory

Vocal, Choral, and Opera

Dr. Robert Istad – Director of Choral Studies and University Singers conductor

Dr. Kerry Jennings* – Director of Opera

Dr. Christopher Peterson – CSUF Concert Choir and Singing Titans conductor

Dr. Joni Y. Prado voice, academic voice courses

Woodwinds, Brass, and Percussion

Dr. Dustin Barr – Director of Wind Band Studies, University Wind Symphony, University Band

Jean Ferrandis – flute

Sycil Mathai* – trumpet

Dr. Gregory X. Whitmore University Symphonic Winds conductor

Staff

Michael August – Production Manager

Eric Dries – Music Librarian

William Lemley – Audio Technician

Jeff Lewis – Audio Engineer

Chris Searight – Music Instrumental Services

Paul Shirts – Administrative Assistant

Elizabeth Williams – Business Manager

* denotes Area Coordinator facebook.com/CSUFMusic instagram.com/CSUFMusic soundcloud.com/csufmusic music.fullerton.edu

Welcome to the Spring 2024 Performing Arts Season at Cal State Fullerton’s College of the Arts. Whether you are a first-time or long-time patron, a friend, or parent to one of our exceptional students, thank you for joining us. Your support makes all the difference to their success.

I am pleased to present another semester of programming powered by the incredible gifts of our Art, Dance, Music, and Theatre students. This spring, the School of Music starts the season with a trio of concerts February 16–18 by artists-in-residence Talich Quartet; faculty artist Damon Zick and his Quarteto Nuevo featuring fellow faculty artist Bill Cunliffe; and University Symphony Orchestra. In May, University Symphony Orchestra and Symphonic Chorus will close the concert season with a performance of Mozart’s emotionally charged “Requiem.” Begovich Gallery presents the Begovich Visual Arts Lecture Series with visiting artists’ talks throughout the semester, including multidisciplinary artist Hings Lim on February 22, whose work will also be exhibited at Grand Central Art Center. The Department of Theatre and Dance begins their season in March with “Marisol,” a darkly comedic fantasy where the title character must find hope in a post-apocalyptic Brooklyn where angels are taking up arms and coffee is extinct. Hilarious, multiple Tony award-winning modern musical send-up “Urinetown” closes the theatre season just as CSUF’s dancers and choreographers take to the stage for “Spring Dance Theatre.”

When our students demonstrate their talents on stage and in the studio, their creative energy is undeniable, but the sacrifice and struggle it took to get there is often less perceptible. We can’t see the hours spent creating, the days of rehearsals, and the years of practice. For many students, the sparks of innovation and artistry that drove them to pursue the arts are often diminished by the high cost of an education. The Dean’s Fund for Excellence provides support for students in need through scholarships, artist residencies, and other financial assistance, ensuring them the opportunity to thrive in the arts. If you believe in their sparks of brilliance, please consider a donation of any amount to the Dean’s Fund for Excellence.

Thank you again for joining us this season and for championing the arts in higher education. I hope to see you at one of the college’s many performances and events this spring.

Sincerely,

Arnold Holland, EdD Dean, College of the Arts

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PROGRAM

6:00-7:30pm • Program Symposium-Lecture Panel

Pamela Madsen, director

Introduction: InterArts Collaborative Projects and The Art of Song

EXTENDED VOCAL TECHNIQUES AND THE ART OF SONG

Elizabeth Provencio from Schoenberg’s Erwartung to Pierrot Sprechstimme

Zachary Lindquist

Extended Vocal Techniques in Selected Choral Music

Pamela Madsen

Fragments from the Wasteland: The Fire Sermon (a prayer for the year of the insane) (2024) from text to extended techniques to voice—evolution of a work

Fahad Siadat, director/composer, HEX Vocal Ensemble

Discussion of The Moon Has Made Us Brothers based upon the Albert Giraud texts from Pierre Lunaire

8:00pm • Concert

Fragments from the Wasteland: The Fire Sermon (2024)

Pamela Madsen for HEX (SATTBB), CSUF New Music Ensemble, and electronics

The Moon Has Made Us Brothers ................................................................ Fahad Siadat

PROGRAM NOTES

Fragments from the Wasteland: The Fire Sermon (a prayer from the year of the insane) (2024)

Pamela Madsen

From text to extended techniques to voice—evolution of a work- A prayer for the year of the insane-Anne Sexton to O Mary for string quartet to The Fire Sermon (T.S. Eliot)

I was very intrigued by Fahad Siadat’s work The Moon Has Made Us Brothers based the Albert Giraud texts from Pierrot Lunaire-and took on the challenge to create a work of mine as counterpoint to the character in Pierrot Lunaire. I have done extended research, analysis on the work on the feminine voice and Erwartung, Schoenberg Second String quartet and voice, and had composed my string quartet O Mary, A Prayer for the year of the insane (2002) as a reaction/commentary to these worksand published papers/research on this project/topic. Arditti String Quartet premiered this work in Acanthes Festival, Avignon, France, and this work has also been performed by JACK, Ethel, and Lyris String Quartet. Originally this work was for a choir of voices (SATB) and to be performed by Neue Vokal Solisten in Europe. I still have the original vocal text, perhaps and it is the envoiced/ revoicing of the string quartet, with vocal phonemes, syntax, grammar that drove the structure of this work.

I have re-envisioned this work for voice through collaboration with HEX as a direct commentary on Pierrot/ Erwartung/Schoenberg and the voice of the woman—the counterpoint to Pierrot perhaps. And also, to counter the antisemitism implied in the T.S. Eliot poem through juxtaposition and layering of other texts. In this work from Fragments from the Wasteland: The Fire Sermon—I have set the text of T.S. Eliot’s modernist poem within the re-envisioning

of the text from the poem A prayer for the year of the insane, by confessional late modernist poet Anne Sexton used to create my string quartet “O Mary”. I composed this work over two summers residency in 2001-2003 at Acanthes Festival, in Avignon Villeneuve, to awaken the birds in the decaying ruins of the Chartuese/monastery there—so many deep layers of meaning in this work. The work was also during my residency with Arditti string quartet, the premiere string quartet in the world at that time, who were extremely well-versed in extended techniques. I had just completed my PhD at UCSD with Professor, Brian Ferneyhough, with research on the influence of text on music for my final project: Settings of Anne Sexton for ensembles, voice, and electronics. I was then invited to be composer-in-residence, scholar, and researcher at Acanthes, Avignon, and at IRCAM (Institute for Research in Computers, Acoustics and Music, in Paris, France at Pompidou Center for two summers, working in the archives and studios there on “The Influence of Technology on Compositional Thought”

I revised the work first as a reverse engineering of the string quartet techniques that had originally been generated by violinist Mark Menzies as techniques of text (consonants, phonemes) into extended techniques for strings—back into extended techniques for voice. Alas, this did not prove possible for HEX—since the work was too difficult given the short time to prepare the work for them to execute. I then analyzed the work and revised the score to a more graphic notated score—that removed the rhythms of the work, to create a more ambient field of inflected microtonal drones, with spoken text, and techniques for the voice derived from string techniques. These were the upper three voices of the Choir (SAT) and the lowest voice (Bass-Baritone). The two inner

PROGRAM NOTES

voices T2 and Baritone, would be paired to deliver the modal “chant” material layer—of melodic vocalization using the text of T.S. Eliot’s The Fire Sermon from The Wasteland. The lowest bass-baritone voice unfolds a longer drone—a cantus firmus line, driving the overall form of the work and interrupting occasional with outbursts of intensity. Embedded within this text setting is a section of dream-like floating material, setting the text from Anne Sexton’s poem A Prayer for the Year of the Insane. The text is not set directly—but a prayer as if one speaking or praying to oneself—in a floating, timeless texture. The overall form of the work follows the structure of a Fire and loosely the structure of a of a requiems mass for the dead- ( Kyrie, Gloria, Credo, Sanctus, Benedictus, and Agnus Dei) and loosely a large Sonata-Allegro form with introduction, Exposition, A, B, Development, Recap and Coda.

I. Initiation Ritual (Chang-Unreal City) Kyrie Exposition

II. Ignite (Fragments-The river’s tent is broken) Gloria

III. Proliferate (Prayer-O Mary)/ Credo Development

IV. The Fire Sermon (spoken voice)/ Sanctus Recapitulation

V. Spread/Explosive (tutti/Recap of texts), Benedictus Coda

VI. Ashes/Burning Fragments, Agnus Dei

The metaphor for the structure of the orchestration and process of the work comes from the stages of Fire. As one who lives on the edge of extreme dangerous Fire Zone on the edge of a Wilderness Area in California-a Fire Tetrahedron. A tetrahedron can be described as a pyramid which is a solid having four plane faces. Essentially all four elements must be present for fire to occur, fuel, heat, oxygen, and a chemical chain reaction. Removal of any one of these essential elements will result in the fire being extinguished This further

metaphor is taken to the orchestration and layers of the work: Fuel, violin, soprano , Heat, violin, alto, Chemical chain reaction, viola, tenor, Oxygen, cello, bass.

The Materials—Recordings, Texts JACK QUARTET, Arditti Quartet, Ethel Quartet, Lyris quartet at Hear Now Festival https://www.youtube.com/ watch?v=KywugTLMMGo https://soundcloud.com/pamelam-1/omary-2006

O Mary is based on the text translation of a poem by Anne Sexton into a microtonally-inflected complex language for strings. Composed for the Arditti Quartet, this work was written for the Acanthes Festival, Avignon-Villeneuve, France, and the space where it was premiered - the ancient ruins of the 6th Century Chartreuse Monastery across the bridge from Avignon, near the Papal Palace founded by Pope Innocent VI in 1356. Having been in residence in Avignon (Messiaen’s birthplace) the previous summer, I noticed that birds would swoop into the open ruins of Chartreuse during concerts when certain pitches, intensities, harmonies were evoked. I composed this work in homage to those birds, to Messiaen, and to the human tragedies this ancient space witnessed -- and sure enough, during the premiere performance the bird swooped down and began to cry. The amplified version of this work was premiered by Ethel (2005) and complete revised version by JACK Quartet (2011), and performance by Lyris Quartet at Hear Now Festival (2018) - Pamela Madsen. A mix of the JACK and Arditti recordings is used for the backing track of this new work. The field recordings of water, wind, and birds for the opening section of the work were made in the depths of Cleveland National Forest and Silverado Canyon in April and May of 2024, after rains, to collect sounds and images of rushing streams, the sound of air through trees, and capture

PROGRAM NOTES

the ambience of lush green nature in full bloom. I will return to the canyons later this season at the height of the Santa Ana Winds, to witness the devastation of this environment turned to a wasteland,— during the annual fire season. I will document this change, with images and field recordings for use in the final section of Fragments from the Wasteland: The Fire Sermon.

The Moon Has Made Us Brothers Fahad Siadat

The Moon Has Made Us Brothers is the title of the piece I created based upon the Albert Giraud texts from Pierre Lunaire.

“The Moon Has Made Us Brothers chronicles the struggles of the tragic clown figure Pierrot as he suffers through maturity and transformation. Reeling from social rejection, he tries to lose himself in melancholy, intoxication, religion, and violence, only to discover his true self at the end of the journey. Told as a narrative dance-opera, The Moon Has Made Us Brothers is derived from ‘Pierrot Lunaire’, a cycle of poems by Albert Giraud using characters from the Commedia Dell’arte.”

Music by Fahad Siadat, Libretto from Albert Giraud’s Pierrot Lunaire, translation by Gregory Richter. Originally directed by André Megerdichian.

Here’s a page on my website with samples from the original performance and a little forward about it: http://www.fahadsiadat.com/the-moonhas-made-us-brothers.html#/

In his forward to A Clockwork Orange, Anthony Burgess writes about the difference between story and allegory: stories are about change and growth, an allegory is a statement on the inherent nature of humanity. Especially in our

adolescence, we tend towards allegory. We are prone to seeing ourselves as tragic heroes because it’s exciting and sensationalistic and full of meaning. Similarly, the characters of the Commedia Dell’arte are treated as archetypical forces engaging in dramatic allegory, not human personalities with depth and nuance.

Pierrot is typically depicted as selfindulgent, touched by madness, and expressively naive, someone who sees grandiose drama in everything. But in this story, it is only his starting point. In our interpretation, Harlequin, and Pierrot, two characters in the Commedia dell’arte often depicted as companions, are actually the same person; the story chronicles how Pierrot eventually came to be Harlequin, who acts as narrator of his own journey. Rather than make a statement about any particular aspect of human nature, I wanted to show that change is an inevitable part of our living experience and that Pierrot eventually grows out of his tragedy and becomes is best possible self.

And here’s the book I used with what I believe are the only English translations of all 50 original French poems, There’s a great forward in the book that talks about the color theory part of the poems, which is the basis for the harmonic language I created for this piece

https://books.google.com/books/ about/Albert_Giraud_s_Pierrot_Lunaire. html?id=dQaSAAAAIAAJ

I‘ve been looking for a project I could use flexibly in solo performance, and a set of poems like Pierrot Lunaire seemed to be the perfect fit for a theatrical song cycle with a variety of material. Pierrot attracted me as a character because of his exaggerated tragedy and humanness. Arnold Schoenberg—whose Pierrot cycle is one of the iconic pieces of the 20th century—focuses on the tragic element.

PROGRAM NOTES

Like many of the expressionists, he nearly romanticizes the dark side and madness in our psyche. While I think that’s certainly interesting, I wanted to bring a more real and human aspect to the character. I see Pierrot as a typical, selfindulgent, beautifully pure, and expressive adolescent who sees grandiose drama in everything. And, like all adolescents, I wanted to show that change is an inevitable part of the human experience and that he’d eventually grow out of it.

As Anthony Burgess says in his forward to A Clockwork Orange, there is a difference between a story and an allegory: stories are about change and growth, an allegory is a statement about the inherent nature of humanity Especially in our adolescence, we tend towards allegory. We are prone to seeing ourselves as tragic heroes because it’s exciting and sensationalistic and full of meaning. A story about the eternally depressed and whimsically mad clown makes for great allegory, but it leaves out a realistic and always changing human element.

Approaching this text was a challenge for me because of the cultural baggage that accompanies even the name of the work due to how seminal Schoenberg’s setting has become. I started considering the project seriously when I realized Schoenberg had only put to music 21 of Giraud’s original 50 poems, and that he had largely ignored what I saw as a narrative through-line to the set. Working with my frequent collaborator André Megerdichian, I extracted an archetypically simple story of the hero’s journey.

In our interpretation, Harlequin, and Pierrot, two characters in the Commedia dell’arte often depicted as companions, are actually the same person; the story shows us how Pierrot eventually came to be Harlequin, who acts as narrator of his own journey. The portions performed today show key moments in that story. The piece begins by Harlequin literally setting the stage and creating the magic of theater to tell his story. We then see sad and lonely Pierrot pining away in unrequited love for the moon, becoming intoxicated with it. This leads to the very real intoxication of absinthe, which brings on a dark madness and nightmarish visions. Pierrot eventually finds himself in a church, but everything has become grotesque and distorted, turned from holiness to blasphemy.

The rest of the music for this show has yet to be written, but the climax of the piece occurs when Pierrot figuratively sacrifices himself on the altar, leaving both his melancholy and madness behind. He eventually finds peace by a river in a dark wood with the moon overhead, sees a boat, and decides to leave his current life and go to the city of Bergamo. This workshop presentation of Pierrot ends with an epilogue, an acknowledgement from the chorus that Pierrot is a part of all of us; that we share his madness and melancholy and loneliness. Ultimately, what I hope to convey through this interpretation is that such loneliness is temporary, that we grow out of our angst and will eventually become our best selves.

HEX VOCAL ENSEMBLE

Described by the L.A. Times as “a luminous ensemble of singers,” HEX Vocal Ensemble is an award-winning contemporary vocal sextet based in Los Angeles dedicated to performing new works that reimagine the expressive potential of the human voice. Our group features critically-acclaimed singers who have been featured soloists with LA Opera, LA Philharmonic, Long Beach Opera, The Los Angeles Master Chorale, and Industry Opera. HEX has performed with Brightwork Newmusic, theatre dybbuk, and the Resonance Collective, and at venues such as the Broadstage, Meng Hall, Tuesdays@ Monk Space, HEAR NOW Music Festival, Sound and Fury Concert Series, Master in the Chapel Series at First Lutheran Church in Venice, and N.E.O. Voice Festival.

In 2022, HEX was nominated for San Francisco Classical Voice Audience Choice awards including Favorite Choral Ensemble and Favorite New Music Performance, and received the award for “Best Orchestral Performance” for their premiere of Madsen’s Oratorio of the Earth.

ABOUT THE DIRECTOR/COMPOSER

Fahad Siadat creates interdisciplinary pieces exploring the intersection of creative and spiritual practices that “border on being a spiritual journey” (LA Dance Chronicle). His work is described by the press as “evoking wonder, desire, and terror” (Off Broadway), “hypnotic” (Backstage) and having “a sophisticated harmonic vocabulary” (San Diego Story).Fahad is the director of the Resonance Collective, a multifaceted organization which explores and expands our definition of sacred music. He is also the director and singing member of LA’s premiere new music vocal ensemble HEX, an award-winning sextet described by the LA Times as “a luminous ensemble of singers”.

Fahad maintains a robust performing and recording schedule and has performed as soloist with such groups as LA’s groundbreaking opera company The Industry, and the Grammy Award-Winning ensemble PARTCH, as well as on recordings for artists such as Daniel Lentz and WildUp.

Fahad is regularly commissioned to compose for concert music ensembles, dance companies, and theater troupes including: Theater Dybbuk, Rosanna Gamson Dance, Monmouth University, Jacksonville Dance Theater, the California EAR Unit, and the TOCCATA Orchestra. His music has been performed in Europe, China, and across the United States. To hear his work, visit www.fahadsiadat.com

CSUF New Music Ensemble, under the direction of Pamela Madsen and Eric Dries focuses on the instruction in the techniques of contemporary concert music, and preparation of performances of contemporary instrumental, vocal, improvisational and electroacoustic music literature from the Twentieth and Twenty-First Centuries. We study and perform a wide range of repertoire from the contemporary period: from, experimental, atonal, to extended tonal, minimalism, post-minimalism, post-modernism to multi-media collaboration, film music, deep listening and improvisational forms to explore both the repertoire and performance practice in New Music. As part of the New Music Series we work with guest composers, performers and perform with contemporary New Music Ensembles. Chosen by Los Angeles Audience Choice Award as the Best New Music Ensemble in 2022, we have worked with guest ensembles Los Angeles based Brightwork newmusic, Stacey Fraser, HEX Vocal Ensemble and guest artists Jean Ferrandis, and Dominique Williencourt last season.. This season we will work with guest artists: Hub newmusic, Brightwork new music, loadbang, Nicholas Isherwood, Galan Trio and Hex Vocal Ensemble.

Pamela Madsen and Eric Dries, directors

Jessica Harabedian, soprano

Lucas Edwards, baritone

Owen Wells, clarinet and bass clarinet

Jason Callaghan, trumpet

Emerson Kimble, trumpet and electric bass

Jessica Lewis, cello

Ivan Parga-Renteria, guitar

Manuel Laverde, keyboard

Aydin Luna, piano

Wilson Le, percussion

ABOUT THE DIRECTORS

Pamela Madsen is a composer, performer, writer, and curator of new music. From massive immersive concert-length projects, solo works, chamber music to multi-media opera collaborations her work focuses on issues of social change, image, music, text, and the environment. With a Ph.D. in Music Composition from UCSD, Yale University, and Deep Listening with Pauline Oliveros, her research focuses on the evolution of compositional thought, improvisation, electronic music, and women in music. Her works have been commissioned and premiered world-wide by such artists as Brightwork newmusic, HEX, flutists Claire Chase, Jane Rigler, Anne LaBerge, JACK, Ethel, Lyris, Formalist, Arditti string quartets, LAPQ, loadbang, multi-media collaborations with artists Quintan Ana Wikswo, Camille Seaman, Jimena Sarno and Judy Chicago. Major concert-length projects include her Opera America and National Endowment for the Arts Funded Opera: Why Women Went West, and Oratorio for the Earth. Selected as Huntington Library Mellon Research Fellow, Alpert Award Panelist, Creative Capital artist “on the radar”, with artist residency fellowships awards from American Scandinavian Foundation, MacDowell Colony, UCross, Wyoming, Women’s International Studies Center, Wurlitzer Foundation, she is guest artist at festivals and universities worldwide. She is Professor of Music Composition as Cal State Fullerton. www.pamelamadsenmusic.com

Eric Dries is a pianist, improviser, composer and educator who explores the innovative fields between traditional jazz, free improvisation, and contemporary classical music. His work explores a wide range of stylistic practices from jazz and contemporary music worlds in diverse performance situations. Dries is interested in expanding experimental ideas while honoring the fundamental tenets of the jazz tradition. His solo piano performances reinterpret and invigorate the tradition of jazz standards with a foundation of rhythmic experimentation and harmonic and melodic expansion. Dries has performed and recorded with some of the top studio and freelance musicians in southern California where he is in high demand at high profile performance venues, and jazz festivals. Dries early notated compositional works explore virtuosic solo instrumental experimentation and unusually orchestrated chamber ensemble combinations. His current compositional work combines the rigor of compositional technique with improvised frameworks of traditional jazz and experimentalism of new music to create systems of group dynamics that encourage performer-composer collaboration and new sonic exploration in each performance. He holds a Ph.D. in Composition and M.A. in Music Theory from University of California San Diego, where he studied with Rand Steiger, George Lewis, Anthony Davis, Roger Reynolds and Brian Ferneyhough, with post-doctoral studies and research in Music Technology at IRCAM. He studied jazz improvisation and composition with bassist Richard Davis and saxophonist Les Thimmig at University of Wisconsin Madison where he received his BM in Music Composition, studying with Stephen Dembski. Dries currently is a Lecturer in Music composition, theory, jazz, and music technology at California State University Fullerton School of Music.

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ANDREA J. & JEFFREY E. SWARD

RICHARD J. TAYLOR

VERNE WAGNER

RICHARD WULFF

DR. JAMES D. & DOTTIE YOUNG*

*deceased

The College of the Arts Proudly Recognizes the 300+ Members of Our VOLUNTEER

SUPPORT GROUPS

ART ALLIANCE: Art Alliance promotes excellence and enjoyment in the visual arts, and their fundraising efforts contribute to student scholarship, gallery exhibitions, opening receptions and sculpture acquisition on campus.

SPECIAL SUPPORT AND EVENT UNDERWRITING

Fay Colmar

John DeLoof

Joann Driggers & Steve Collier

Loraine Walkington

ALLIANCE FOR THE PERFORMING ARTS: The Alliance for the Performing Arts (formerly MAMM) benefits performing arts students through underwriting visiting artists; special theatre, dance, and music performances; and other unique experiences for members.

SPECIAL SUPPORT AND EVENT UNDERWRITING

Judy Atwell

Drs. Voiza & Joe Arnold

Dr. Margaret Faulwell Gordon

Susan Hallman

Norma Morris

Richard Odle Estate

Kerry & John Phelps

Jeanie Stockwell

Verne Wagner

MUSIC ASSOCIATES: Music Associates maintains a tradition of active involvement and community support, and raises scholarship funds for School of Music students through annual fundraising events and membership dues.

SPECIAL SUPPORT AND EVENT UNDERWRITING

Marilyn Carlson

Evelyn K. Francuz

Sandy & Norm Johnson

Marti & Bill Kurschat

Karen & George Mast

Thelma & Earl Mellott

Bettina Murphy

Grace & Ujinobu Niwa

Kerry & John Phelps

Mary & Jerry Reinhart

Ann & Thad Sandford

Dodo V. Standring

Carolyn & Tom Toby

John Van Wey

MORE INFORMATION: Haley Sanford • 657-278-2663

There are many ways to support the College of the Arts, the School of Music, Department of Theatre and Dance, and Department of Visual Arts