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
Bill Cunliffe jazz piano
Alison Edwards* piano, piano pedagogy, class 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 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. Hesam Abedini composition, theory
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
Dr. Bri’Ann Wright general education
WOODWINDS, BRASS, AND PERCUSSION
Dr. Dustin Barr Director of Wind Band Studies, University Wind Symphony, University Band
Jean Ferrandis* flute
Sycil Mathai* trumpet
Ken McGrath* percussion
Dr. Gregory X. Whitmore
University Symphonic Winds conductor
Michael Yoshimi* clarinet
STAFF
Michael August Production Manager
Eric Dries Music Librarian
Gretchen Estes-Parker Office Coordinator
Will Lemley Audio Technician
Jeff Lewis Audio Engineer
Chris Searight Musical Instrument Services
Paul Shirts Administrative Assistant
Elizabeth Williams Business Manager
* Denotes area coordinator
Welcome to the Fall 2025 performing and visual arts season at Cal State Fullerton’s College of the Arts. Each new semester, our campus comes to life with the energy and creativity of thousands of arts students eager to share their unique visions. Whether you’re returning to our venues or here for the first time, we are so excited to present another season to you. Thank you for joining us.
On October 12, the School of Music presents the interdisciplinary performance “Shakespeare in Sound,” featuring the University Symphonic Winds along with vocal and theatre students. Later in the semester, “Here’s Johnny!: Celebrating 100 Years of Johnny Carson” swings its way onto the stage with a program of jazzy favorites on November 16. More toe tapping is in order when the Department of Theatre and Dance presents their fall musical “9 to 5,” based on the hit 1980 film and featuring the music of Dolly Parton. To close the season, “Fall Dance Theatre: Tethered” returns to the Hallberg Theatre with a fully interactive stage set for our dancers and choreographers to explore.
If you haven’t yet visited the College of the Arts Galleries, join us for the October 4 opening reception for the exhibitions Soo Kim: “(Charlie sings in the quietest voice)” and Carol Caroompas: “Mystical Unions.” Kim is known for her intricately cut and layered photographic work while trailblazing alumna Caroompas is widely recognized for her layered visual narratives. Don’t forget to stop by our student galleries while you’re there!
There are so many exhibitions, concerts, and performances to experience across the college this season, but they wouldn’t be possible without you – our extended Titan community. In every class, every rehearsal and with every hour spent in the studio, our students are pushing creative boundaries, but they need your support to thrive. The Dean’s Fund for Excellence provides arts students with necessary funds for scholarships, off-campus opportunities, and so much more. Help transform their potential into possibility by making a gift of any amount to the Dean’s Fund for Excellence today.
Thank you for joining us for this performance. Our students are ready to make the Fall 2025 season unforgettable, and we are so proud to share their artistry with you.
Sincerely,
Arnold Holland, EdD Dean, College of the Arts
The Memory of Now IONE
The Well and The Gentle (1985) ............................................. Pauline Oliveros
Of Blues and Dreams (1986) ...................................................... Anthony Davis
Drei Kleine Stücke for Cello and PIano, op. 11 (1914) .............. Anton Webern
Shannon Hayden, cello
Daniel Meyers, piano
Vier Stücke for Clarinet and Piano, op. 5 (1913) ............................. Alban Berg
John Gerling, clarinet
Luke Templeman, piano
Concerto for Contrabass Trombone and Track (2020) Brian Sadler
Composition no. 56 (1976) and ............................................ Anthony Braxton
Composition no. 142 (1988)
*CSUF Faculty
IONE
The Memory of Now
The Memory of Now for harmonium with sonic vocals was commissioned from author/poet IONE by pianist Jacob Greenburg. It is a text score that invites musical improvisation in a ritual manner. As the voice intones directions for interior reflection, it reacts spontaneously to the resulting sounds that portray states of memory. IONE says, “The player or players are invited to listen to external and internal sounds without judgment, while allowing momentary states of being to flow freely.”
Anthony Davis
Of Blues and Dreams
Of Blues and Dreams by Anthony Davis is a lead-sheet style composition with a melody and chord progression in ternary form. The first section is slower and more dream-like followed by the faster second section with an underlying “off-kilter Latin groove” and then returns to the first slower section. It has been performed in various instrumental combinations including solo piano, duo for piano and tenor saxophone and duo for piano and flute. This performance was arranged by the CSUF New Music Ensemble.
Pauline Oliveros
The Well and The Gentle
The Well and The Gentle are two pieces that are usually performed together and are both examples of Pauline Oliveros’ text-based scores, improvisational settings based on the concepts of Deep Listening. The Well provides a scale of pitches and five different guidewords: listen, merge, match, support, and listen, with the Well as a central resource of resting and silence to return to between
each guideword. The Gentle gives a rhythm pattern from which performers improvise 1-3 note patterns based on a scale of pitches.
Anton
Webern
Drei kleine Stücke for Cello and Piano, op. 11
Webern’s Drei kleine Stücke, op. 11 are masterpieces of extreme brevity and concentrated expression from 1914, showcasing his aphoristic, pointillistic style, exploring atonality and foreshadowing 12-tone techniques through sparse, meaningful notes, with each piece developing distinct moods from mystery and fragility to intense emotion, demanding meticulous craftsmanship from performers to reveal their profound depth.
Alban Berg
Vier Stücke for Clarinet and Piano, op. 5
Vier Stücke, op. 5 are intense, brief miniatures exploring atonality, emotional depth, and unique timbres (flutter-tonguing, pitch bending) within concise forms. The pieces move from stillness to nervous energy and complex textures, showcasing extreme dynamics, rapid changes, and surprising tonal echoes, all within a single-movement structure. These are Berg’s only true miniatures, composed in 1913, a pivotal year following a critical meeting with his teacher, Arnold Schoenberg, who encouraged larger forms. Tonight’s performance will feature the first two of the four pieces.
Brian Sadler
Concerto for Contrabass Trombone and Track
Brian Sadler’s Concerto for Contrabass Trombone and Track is a bold exploratory work that places one of the orchestra’s
PROGRAM NOTES
rare instruments into a solo spotlight. Composed with both virtuosic demands and lyrical depth, the piece showcases the contrabass trombone’s surprising agility and emotional range. Written during the pandemic, this piece was designed for performers to continue the art of making music through backing tracking, since we could not meet in person. Since then, this piece has been updated to be performed, with orchestra and trombone quartet.
Sadler conceived the concerto as a dialogue between two realms, The subterranean resonance of the contrabass trombone and the ethereal textures of the orchestra. This piece follows a strict Concerto sonata form put into a “one movement” work. The main theme is introduced early in the piece in heroic fashion. It then goes through a few variations ultimately leading to a cadenza. The piece ends in an epic recapitulation of the original theme.
Hesam Abedini
Ozān
Ozān is shaped by rhythmic patterns drawn from classical Persian poetry. These meters serve as a source of both rhythmic material and musical character for the improvisors. The score uses the syllables Ta (short) and Tan (long) to outline these patterns, encouraging performers to think of rhythm as a continuum rather than as fixed, isolated durations. Through this approach, the piece invites an exploration of timing, phrasing, and nuance informed by the subtle motion of poetic rhythm.
Anthony Braxton
Composition No. 56 (1976)
Composition no. 142 (1988)
(Notes from the essay The Music of Anthony Braxton: A System of Possibilities (2020) by Carl Testa)
The music of composer Anthony Braxton presents a whole universe of possibilities in sound, theater, electronics, narrative, and philosophy. Braxton has referred to this composite body of work as a “Tri-Centric Thought Unit Construct Entity.” Conceptually, his music could easily go on forever, or the entirety of his composed and recorded output could be experienced as a blip of noise lasting less than a second, and everything in between. In the Introduction to Catalog of Works, Braxton lays out four fundamental postulates for the interpretation and performance of his music. These include:
I. All compositions in my music system connect together
II. All instrumental parts in my group of musics are autonomous
III. All tempos in this music state are relative (negotiable)
IV. All volume dynamics in this sound world are relative
Braxton has a term he uses called the “friendly experiencer” which is often thought of as relating to the general concept of the audience experiencing the music. However, my feeling has always been that the “friendly experiencer” encompasses the audience, musicians, and composer as one unit experiencing and creating the music together.
Braxton writes in the liner notes to Six Compositions (GTM) 2001 “the system I am building (sensing) leaves room for the friendly experiencer to have a viewpoint that makes sense from that person’s own individual perspective and proclivitieshaving nothing to do with my disposition and/or presence...the Tri-Centric method (idea) is conceived as a system of ‘possibilities’ that can be used to facilitate agency-depending on the needs of the moment.” Braxton goes further and describes the system as “’alive’ in itself (as an entity with its own interests separate from mine) with its own agenda to fulfill.”
Eric Dries, director • Pamela Madsen, artistic director
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.
Cooper Koerner, alto saxophone
Giovanni Guillean, guitar
Shannon Hayden, cello
Luke Templeman, piano
Christian Polo, voice
John Gerling, clarinet
Jonathan Binns, guitar
Daniel Meyers, Clavinova
Scott Dilbeck, voice
Beatriz Gongora, tenor saxophone
Paul De La Rosa, trombone, contrabass trombone
Julia Craft, keyboard
Julio Hernandez, alto saxophone
Cruz Boschini, trombone
Ethan Gutierrez, keyboard
ABOUT THE FACULTY COMPOSER
Hesam Abedini is an Iranian–American composer, performer, and educator whose work interweaves classical Persian music, jazz, computer music, and contemporary composition through polystylistic and improvisatory approaches. His music has been performed by ensembles including the JACK Quartet, Del Sol Quartet, and Hypercube. As the founding member of the Sibarg Ensemble, he explores new models of intercultural music-making. Hesam holds a Ph.D. in Integrated Composition, Improvisation, and Technology from UC Irvine and is Assistant Professor of Composition and Assistant Director of the New Music Series at California State University, Fullerton.
ABOUT THE DIRECTORS
Pamela Madsen, artistic director
Pamela Madsen is a composer, performer, theorist, writer and curator of new music. From massive immersive concertlength projects, solo works, chamber music to multi-media opera collaborations her work focuses on issues of social change, exploration of image, music, text and the environment. With a Ph.D. in Music Composition from UCSD, studies with Brian Ferneyhough, Mellon Foundation Doctoral Research Award in theory at Yale University, Post- Doctoral research in Music Technology at IRCAM, Paris, and Deep Listening Certificate with Pauline Oliveros, her creative projects and research focuses on the evolution of compositional thought, improvisation, electronic music, and women in music.
Madsen’s works have been commissioned and premiered world-wide by such artists as Los Angeles Percussion Quartet, Brightwork newmusic, ModernMedieval, Moscow Contemporary Music Ensemble, Tony Arnold, Nicholas Isherwood, Stacey Fraser, Claire Chase, Jane Rigler, Anne LaBerge, Brian Walsh, Lisa Moore, Vicki Ray, Aron Kallay, Bugallo-Williams Piano Duo, Ashley Bathgate, Trio Solisti, New York New Music Ensemble, Either/Or, yesaroun’ duo, California Ear Unit, Verdehr Trio, Zeitgeist, JACK, Ethel, Lyris, Formalist and Arditti string quartets with multimedia collaborations with visual artists Quintan Ana Wikswo, Camille Seaman, Jimena Sarno and Judy Chicago.
Major concert-length projects include Madsen’s Opera America and National Endowment for the Arts Funded Opera: Why Women Went West, National Endowment for the Arts and New Music USA supported Oratorio for the Earth; Luminous Etudes: Visions of the Black Madonna of Montserrat; Luminosity: Passions of Marie Curie multi-media opera; Melting Away: Gravity for orchestra, with Arctic photographer Camille Seaman; We are All Sibyls-Envisioning the Future Project multi-media opera installation with visual artist Judy Chicago. Selected as Huntington Library Mellon Research Fellow, Alpert Award Panelist, Creative Capital artist “on the radar” with awards from Opera America, National Endowment for the Arts, New Music USA, Meet the Composer, American Scandinavian Foundation, artist residency fellowships at MacDowell Colony, UCross, Wyoming, Women’s International Studies Center, New Mexico, Wurlitzer Foundation Award, with international Russia/Siberia Concert tour, featured composer at Pulsar Festival, Denmark, she is a frequent guest artist at festivals and universities worldwide. She is Director of the Annual New Music Festival, InterArts Collaborative Projects at Cal State Fullerton where she is Professor of Music Composition, Music Theory and Director of the New Music Ensemble.
Eric Dries, director
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 postdoctoral 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.
$500,000 +
Mrs. Junko Klaus
$100,000-$499,999
Johnny Carson Foundation
$50,000-$99,999
CSU Northridge Foundation
Leo Freedman Foundation
Ms. Susan Hallman in Memory of Ernie Sweet ‘77
Mr. Matthew Scarpino & Ms. Karyn Hayter
Mr. Steve & Mrs. Robin Kalota
Dr. Sallie Mitchell*
Dr. Tedrow & Mrs. Susan Perkins
Mrs. Louise Shamblen
$25,000 - $49,999
Mr. Darryl Curran
Mrs. Lee C. Begovich
Mrs. Marilyn Carlson
Ms. Mary A. and Mr. Phil Lyons
Mr. Bob & Mrs. Terri Niccum
Mr. Ernest & Mrs. Donna Schroeder
Dr. Ed & Mrs. Sue Sullivan
$10,000-$24,999
Dr. Joseph & Dr. Voiza Arnold
Mr. John Aimé & Ms. Robin de la Llata Aimé
Dr. Marc Dickey
Mrs. Evelyn Francuz
Mr. Edward & Mrs. MaryLouise Hlavac
Ms. Kathleen Hougesen
Ms. Kathy Mangum
Mr. James & Mrs. Eleanore Monroe
Mrs. Norma Morris
Mr. John Brennan & Ms. Lucina Moses
$5,000-$9,999
Mr. Nick & Mrs. Dottie Batinich
Continuing Life LLC
Ms. Harriet Cornyn
Mr. William S. Cornyn
Dedicated 2 Learning
Mr. Richard & Mrs. Susan Dolnick
Ebell Club of Fullerton
Friends of Jazz, Inc.
Dr. Margaret Gordon
DONOR APPLAUSE
Mr. Norm & Mrs. Sandy Johnson
Ms. Teri Kennady
Mrs. Jill Kurti Norman
Morningside of Fullerton
Mrs. Bettina Murphy
Mr. David Navarro
Dwight Richard Odle Foundation
Dr. Stephen Rochford, DMA
Southern California Arts Council
Swinerton Builders
Mr. Framroze & Mrs. Julie Virjee
$1,000-$4,999
Mr. John A. Alexander & Mr. Jason Francisco
Mrs. Judy Atwell
Mrs. Lois Austin
Mr. Tod Beckett-Frank
Ms. Karen Bell
Mr. John &
Ms. Shanon M. Fitzpatrick
Dr. Keith & Mrs. Renae Boyum
Mr. Allan & Mrs. Janet Bridgford
Mrs. Marion Brockett
Mr. James & Mrs. Diane Case
Mr. Stephen Collier & Ms. Joann Driggers
Mr. William H. Cunliffe, Jr.
D Barry Schmitt Trust
Ms. Jeannie Denholm
Mr. Gordon & Mrs. Lorra Dickinson
Mr. Kenneth & Mrs. Stacey Duran
Mr. Greg & Mrs. Shawna Ellis
Ms. Judi Elterman
Dr. Anne Fingal
Fullerton Families & Friends Foundation
The Jane Deming Fund
Mrs. Marsha Gallavan
Mrs. Terie Garrabrant
Dr. Leon & Mrs. Annette Gilbert
Mrs. Janet M. Green
Mr. James Henriques
Mr. David &
Mrs. Margret Hoonsbeen
Mr. Mike Ibanez
Mr. Darren & Mrs. Tatyana Jones
Ms. Michelle H. Jordan
Ms. Gladys Kares
Ronald L. Katz Family Foundation
Mr. Raymond & Mrs. Masako Kawase
Mr. Jeffrey & Mrs. Gayle Kenan
Dr. Kristin Kleinjans & Mr. Anthony Dukes
Mrs. Shirley Laroff
Mr. Lynn & Mrs. Susan Lasswell
Mrs. Marilyn Little
Mr. Juan Lopez
Mr. Paul Coluzzi & Mr. John Martelli
Dr. George& Mrs. Karen Mast
Mrs. Thelma Mellott
Mr. Michael & Mrs. Mary Miguel
Mr. Carl Mrs. Patricia Miller
Stifel Nicolaus
Mr. Ujinobu & Mrs. Yoshino Niwa
Mr. Colin Connor & Ms. Debra Noble
Dr. Arie & Mrs. Deanna Passchier
Mr. Jarrold Petraborg
Mr. John Phelps & Mrs. Kerry Laver-Phelps
Mr. Jim Plamondon
Mr. E. B. & Mrs. Linda Powell
Mr. Robert Rennie & Mrs. Nancy Rennie
Ms. Christine Rhoades
Ms. Mary Rupp
Mr. Thaddeus & Mrs. Eleanor Sandford
Mrs. Rita Sardou
Mr. D. Schmitt
Mrs. Martha Shaver
Mrs. Ingrid R. Shutkin
Ms. Barbara Kerth & Ms. Lorena Sikorski
Ms. Janet Smith
South Coast Repertory
Ms. Ann Sparks
Mr. Robert & Mrs. Roberta Sperry
Mr. Douglas Stewart
Mr. Tom & Mrs. Carolyn Toby
Liqi Tong
Viet Tide
Ms. Verne Wagner
Dr. Sean & Dr. Tina L. Walker
Dr. Robert & Mrs. Teri Watson
Dr. Wayne & Dr. Ruth Zemke
special care has been given to the prepartion of this donor list. Questions or concerns, please contact: Dominic Mumolo | 657-278-7695 Gifts received from July 1, 2023 to December 31, 2024 |
ONTIVEROS SOCIETY
The Ontiveros Society includes individuals who have provided a gift for Cal State Fullerton through their estate plan. We extend our deep appreciation to the following Ontiveros Society members, whose gifts will benefit the students and mission of the College of the Arts.
ANONYMOUS
JOHN ALEXANDER
LEE & DR. NICHOLAS A.* BEGOVICH
MARC R. DICKEY
JOANN DRIGGERS
BETTY EVERETT
CAROL J. GEISBAUER & JOHN* GEISBAUER
SOPHIA & CHARLES GRAY
MARYLOUISE & ED* HLAVAC
GRETCHEN KANNE
DR. BURTON L. KARSON
ANNE L. KRUZIC*
LOREEN & JOHN LOFTUS
ALAN A. MANNASON*
WILLIAM J. MCGARVEY*
VERONICA MICHALOWSKI
DR. SALLIE MITCHELL*
ELEANORE P. & JAMES L. MONROE
LYNN & ROBERT MYERS
BOB & TERRI NICCUM
DWIGHT RICHARD ODLE*
SHERRY & DR. GORDON PAINE
DR. JUNE POLLAK & MR. GEORGE POLLAK*
DR. STEPHEN M. ROCHFORD
STAN MARK RYAN ‘75
MARY K. & WILLIAM SAMPSON
LORENA SIKORSKI
DOUGLAS G. STEWART
ANDREA J. & JEFFREY E. SWARD
RICHARD J. TAYLOR
VERNE WAGNER
RICHARD WULFF
DR. JAMES D. & DOTTIE YOUNG*
We Proudly Recognize Our VOLUNTEER
SUPPORT GROUPS
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.
Website arts.fullerton.edu/aa
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.
