"CSUF New Music Ensemble" program

May 1, 2024

C AL STAT E FULLER TON

C S U F S C H O O L O F M US IC

SYLVIA A. ALVA President, California State University, Fullerton

DR. RANDALL GOLDBERG Director, School of Music

AMIR H. DABIRIAN Provost and VP for Academic Affairs

KIMO FURUMOTO Assistant Director, School of Music

ARNOLD HOLLAND, EDD Dean, College of the Arts

BONGSHIN KO Assistant Director, School of Music

SCHOOL OF M U S I C F U L L-TI M E FAC U LT Y A N D S TA F F 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

SCAN THIS QR DONATE TODAY TO THE DEAN’S FUND FOR EXCELLENCE

PROGRAM Approaches and Departures (1995) (from Four Meditations)...................Pauline Oliveros

My Heart is in the Highlands (2000).....................................................................Arvo Pärt arr. Lucas Edwards

Buffalo Jam (1982)....................................................................................Pauline Oliveros

Stay On It (1973)........................................................................................ Julius Eastman

Dr. Robert (1966)......................................................... John Lennon and Paul McCartney arr. Emerson Kimble

PROGRAM NOTES Approaches and Departures (1995) (from Four Meditations) PAULINE OLIVEROS Each of the four Meditations for Orchestra has been performed in versions for voices or smaller instrumental ensembles. There is no conventional notation used. The score consists of recipe-like instructions which are the same for each player. Each performer is responsible for their own part within the guidelines given.

Since there is no written part to watch, all the performers’ attention can be given to sound and invention. Each meditation has a specific focus.

In Approaches and Departures, each player carries a specific pitch which is expressed or implied. Each player invents musical approaches and departures to their specific pitch.

The score contains the following text to be chanted or sung using neighboring tones to emphasize selected words Who Night and the owl’s calling.

While sleeping in the guest room the guest arrives.

My Heart is in the Highlands (2000) ARVO PÄRT, ARR. LUCAS EDWARDS Originally scored for countertenor and organ, this arrangement features two voices with the ensemble. A poem by Scottish poet Robert Burns has been conveyed in the contertenor part in syllabic singing on a single note. The static vocal part has been compensated for with a fairly dynamic organ part, which shows each note of the vocal part in a new harmonious colouration. This version of the work is arranged by

Dreaming I Am Dreaming I am inside the places that I am Always knowing more than after or before.

Moon Swallow Sun Bee Moon swallow Sun bee Moon buzzing my hair Sun be

Listening,” which comes from her childhood fascination with sounds and from her works in concert music with composition, improvisation and electro-acoustics. Oliveros describes Deep Listening as a way of listening in every possible way to everything possible to hear no matter what you are doing. John Cage said, “Through Pauline Oliveros and Deep Listening I now know what harmony is. It’s about the pleasure of making music.” In the last few years, there have been major releases of Oliveros’ works in both recording and in score form; in 2012, Important Records released a 12-CD box set of Oliveros’ works, Reverberations: Tape & Electronic Music 1961- 1970, and late in 2013, Oliveros published an anthology of her text scores. In November 2014 the New Music Ensemble gave the world premiere of Oliveros’ work Sound Listening, which was commissioned by the ensemble.

in my hair buzzing swallows Sun be

Le Voyage Faire un voyage dans le rève— être le rève— rèver d’être— être le voyage voyager être Moon Chant Be who you are Be who You Are I am who I am I am who I am I am who you Are Composer Pauline Oliveros was born in Houston, Texas and has taught at Mills College, the University of California, San Diego, Oberlin, and Rensselaer Polytechnic Institute.

Since the 1960s she has influenced American music profoundly through her work with improvisation, meditation, electronic music, myth and ritual. She is the founder of “Deep

CSUF New Music Ensemble member, Lucas Edwards.

“My heart’s in the Highlands, my heart is not here, My heart’s in the Highlands, a-chasing the deer; Chasing the wilddeer, and following the roe, My heart’s in the Highlands, wherever I go” Arvo Pärt (1935-) is an Estonian composer who developed a style based on the slow modulation of sounds such as those produced by bells and pure voice tones, a technique reminiscent of the medieval NotreDame school and the sacred music of Eastern Orthodox.

Buffalo Jam PAULINE OLIVEROS February 15, 1982 Amtrak to Buffalo, New York Buffalo Jam guidelines for performances are as follows: Mode G A B C C# D E F# G 1. Fast stepwise motion always present for at least one player. Groups of three to five notes weaving around a centering tone in patterns

PROGRAM NOTES and permutations. Occasionally more compass or notes. Like a fast moving stream. Rushing, dwindling, but ceaseless. Most always hearing the other players. Sometimes leading, sometimes lagging. Dynamically generally play lightly, smoothly, quietly but intensely.

Work for transparency.

2. Sometimes make hard accents, like rushing water hitting or smacking a rock. Listen for others’ accents. Sometimes an accent riff will develop as a group pattern. Play with it.

Keep it going. Let it go.

3. Pedal tones always present. Join them, blend with them. Articulate them as rhythmic riffs, or as dynamic shapes.

4. Silence unless no one else is playing.

5. The dynamic level should be soft generally, but with intense dynamic development as players weave in and out of the four given possibilities.

6. When appropriate, players should be distributed throughout the space. Where possible, players should turn and move slowly, directing their sounds to different parts of the space.

Stay On It (1973) JULIUS EASTMAN Stay On It, composed in 1973, has become perhaps Eastman’s most popular work…

Owing to structured improvisation and varying possibilities of instrumentation, no two performances are alike, and the work is credited as one of the first to use pop tonal progressions and free improvisation in an “art” context. Eastman’s program note for Stay On It consists of the following poem: Com’ on now baby, stay on it.

Change this thread on which we move From invisible to hardly tangible.

With you movin and groovin on it, Making me feel fine as wine, I don’t have to find the MEANING, Because you will have filled in his most invisible and intangible Majesty’s place; But only if you stay on it. You Dig Although his majesty does stay with it, He can’t stay on it. (Does that move you?)

Ties that move and brek, Disappear, and return again, are not ties that stay on it.

They are sometimy bonds. These bonds cause Screens like the Edge of Night, with Ivory sno liquid to appear.

This is why baby cakes, I’m ringing you up In order to relay this song message So that you can get the feelin’, O sweet boy Because without the movin and the groovin,

The carin and the sharin, The reelin and the feelin, I mean really.

Instrumentation is open, although traditionally voice(s), piano, and mallet percussion have been a part of most performances.The ‘chordal’ part (Main Theme) may be played by the piano and/or mallet percussion. Alternatively, players of singleline instruments may choose to play one of the lines in the Main Theme that falls in a register that is comfortable and will lend itself to balance within the ensemble. Players may choose to play and repeat the layered cells at their own discretion.It is possible to move between the chordal and layered elements, but the Themes must be repeated throughout each section by at least one player. Each element (Theme, Cells) may be repeated ad lib. Cues to move to each next section may be visual, or a pre-determined musical cue.The piece may begin with the poem [included in the performance scores]. Optionally, the players may choose to improvise using materials from the main body of the composition.

Julius Eastman (1940-1990) was a composer, conductor, singer, pianist, and choreographer. A singular figure in New York City’s downtown scene of the 1970s and 80s, he also performed at Lincoln Center with Pierre Boulez and the New York Philharmonic, and recorded music by Arthur Russell, Morton Feldman, Peter Maxwell Davies, and Meredith Monk. “What I am trying to achieve is to be what I am to the fullest,” he said in 1976. “Black to the fullest, a musician to the fullest, a homosexual to the fullest.” His work is associated with musical minimalism. He was among the first composers to combine minimalist processes with elements of pop music, and involve experimental methods of extending and modifying music in creating what he called “organic music.”

Doctor Robert (1966) JOHN LENNON AND PAUL MCCARTNEY, ARR. EMERSON KIMBLE Doctor Robert, a song by the Beatles, was released on the Revolver album in 1966.

According to musicologist Walter Everett, the lyrics to Doctor Robert “contained the most overt drug references of any published Beatles song” up to 1966, and he adds that in their recording of the song, the band “found musical ways to portray the doctor as a saint.”

The character is in keeping with the idea of a “Dr. Feelgood,” a physician who prescribed drugs such as amphetamines under the guise of legitimate medical practice. In this version, Emerson Kimble has arranged the work for the CSUF New Music Ensemble.

CSUF NEW MUSIC ENSEMBLE

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

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 worldwide 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 multi- media 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

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.

COLLEGE OF THE ARTS • SELECT EVENTS | SPRING 2024 Talich Quartet February 16 • Meng Concert Hall

Ernest Salem & Hasse Borup, violins March 28 • Meng Concert Hall

Quarteto Nuevo February 17 • Meng Concert Hall

Nicholas Isherwood, bass/baritone* April 9 • Meng Concert Hall

University Symphony Orchestra with Talich Quartet February 18 • Meng Concert Hall

Gabriel Bianco, guitar April 10 • Meng Concert Hall

Brightwork Newmusic February 22 • Meng Concert Hall University Symphony Orchestra feat. Joseph Loi, flute February 25 • Meng Concert Hall

Urinetown the Musical April 12– 27 • Young Theatre High School Honor Band & CSUF Wind Chamber Ensembles April 13 • Meng Concert Hall

loadbang* February 27 • Meng Concert Hall

CSUF New Music Ensemble & Contemporary Chamber Ensemble April 17 • Meng Concert Hall

Advanced Vocal Workshop feat. Michael Schütze, piano February 29 • Recital Hall

Monteverdi’s The Coronation of Poppea April 18–21 • Recital Hall

Fabian Ziegler, percussion March 6 • Meng Concert Hall

CSUF Symphonic Winds April 21 • Meng Concert Hall

Enrico Elisi, piano March 7 • Meng Concert Hall

Fullerton Jazz Chamber Ensemble & Fullerton Latin Ensemble April 23 • Meng Concert Hall

Marisol March 8– 23 • Little Theatre

University Band May 1 • Meng Concert Hall

Fullerton Jazz Orchestra & Fullerton Jazz Chamber Ensemble March 8 • Meng Concert Hall

Spring Dance Theatre May 2–11 • Little Theatre

Enrico Elisi & Mengyang Pan, duo piano March 10 • Meng Concert Hall Alumni Piano Recital March 14 • Meng Concert Hall 17th Annual Collage Concert March 16 • Meng Concert Hall Accidentally on Purpose March 22– 30 • Hallberg Theatre University Singers & Concert Choir March 24 • Meng Concert Hall

Fullerton Jazz Orchestra May 3 • Meng Concert Hall University Wind Symphony May 4 • Meng Concert Hall Jazz Singers May 6 • Meng Concert Hall Titan Voices & Singing Titans May 8 • Meng Concert Hall Symphony Orchestra & Symphonic Chorus Mozart’s “Requiem” May 11 • Meng Concert Hall

Brightwork newmusic* March 26 • Meng Concert Hall Minsoo Sohn, piano March 27 • Meng Concert Hall

*Part of the 24th Annual New Music Series

For Studio Series productions, free events, and complete information, visit/call (657) 278-3371 • arts.fullerton.edu/calendar • artstickets.fullerton.edu

S TAY CO N N EC T E D Sign up for eblasts from the College of the Arts! arts.fullerton.edu/connect

DONOR APPLAUSE $1,000,000 + Terri & Bob Niccum Stanley Mark Ryan $100,000 - $999,000 Darryl Curran Gregory & Shawna Ellis David & Shirley Sepel William Wagner $25,000 - $99,999 Lee Begovich Johnny Carson Foundation Leo Freedman Foundation Karyn L. Hayter Robin & Steve Kalota Sallie Mitchell Revocable Trust Donna & Ernest Schroeder Sue & Dr. Edward A. Sullivan The Andy Warhol Foundation for the Visual Arts $10,000-$24,999 Apple Inc. Drs. Joseph and Voiza Arnold Robin de la Llata Aimé & John B. Aimé EMC Associates, Ltd Ellen M. and William A. Groves Kathleen A. Hein J. P. Morgan Charitable Giving Fund Marianne R. Kreter Eleanore & James Monroe Lucina L. Moses & John Brennan Dana Praitis Louise P. Shamblen Dr. Kristin K. Stang & Dr.Gordon P. Capp Jeffrey A. Stang & Lisa McDaniel Stang $5,000-$9,999 Boeing North American Fitness Inc. Steven Caulk Continuing Life LLC Morningside of Fullerton Fidelity Charitable Gift Fund Anonymous Friends of Jazz, Inc Leslie Garman Dr. Margaret Faulwell Gordon MaryLouise & Edward Hlavac

Jill Kurti Norman Norma L. Morris Bettina Murphy Dwight Richard Odle Foundation Orange County Community Foundation Stephen Rochford, DMA Schwab Charitable Fund Barbara Thompson $1,000-$4,999 John A. Alexander Judy Atwell Dorothy & Nick Batinich Dr. & Mrs. Keith O. Boyum Janet & Allan Bridgford Broadway Arts Studio Marion Brockett California Community Foundation Katherine Calkins James Case Charities Aid Foundation of America CMC Joann Driggers & Stephen Collier Harriet & William Cornyn CSU Northridge Foundation CSUF Auxiliary Services Corporation Jeannie Denholm Dr. Marc R. Dickey Susan & Richard Dolnick Charlie Duncheon Anne Fingal Fullerton Families & Friends Foundation Jane Deming Fund Marsha Gallavan Annette & Dr. Leon Gilbert Renee Gillespie Dr. Mark J. Goodrich Michael R. Haile Susan Hallman James L. Henriques Frank A. Hinojoz The Ibanez Family Janet L. Smith Voice Studio Sandra & Norman H. Johnson Michelle Jordan Gladys M. Kares Ronald L. Katz Family Foundation

Masako & Ray Kawase Gayle A. Kenan Ms. Junko Klaus Dr. Irene L. Lange Shirley & Eugene Laroff Marilyn M. Little The Loftus Family Foundation Jason Lomeda Juan Lopez Juliette Lunger & John A. Hoyos Melissa Madsen Paul Coluzzi & John M. Martelli Karen & William McClung Thelma Mellott Patti & Carl Miller Jamie M. Spitzer David Navarro Grace & Ujinobu Niwa Debra L. Noble Tyler Stallings & Naida Osline Deanna & Arie Passchier Aleks Lyons & Geoffrey Payne Peace Mountain Theatre Company Inc Anonymous Jim Plamondon Linda L. & E. B. Powell The Presser Foundation Sharon & Dr. Anil K. Puri R23 International Inc. Brian Rennie & Lori Rennie Nancy & Robert Rennie David Rhone Liz Riede Thomas C. Robinson Mary L. Rupp D. B. Schmitt D Barry Schmitt R. Trust Martha Shaver Ingrid R. Shutkin Barbara Kerth & Ms. Lorena Sikorski Janet L. Smith Roberta & Robert Sperry Thomas Statler Douglas G. Stewart Ernie Sweet Carolyn & Tom Toby Fram & Julie Virjee Verne D. Wagner Tina L. Walker Patrick Young Ruth & Wayne P. Zemke

Very special care has been given to the preparation of this donor listing.

Please contact Ann Steichen at (657) 278-7124 with questions or concerns. **Gifts received from July 1, 2022 through November 1, 2023

*deceased

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 GAIL & MICHAEL COCHRAN 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* DR. SALLIE MITCHELL* ELEANORE P. & JAMES L. MONROE LYNN & ROBERT MYERS DWIGHT RICHARD ODLE* SHERRY & DR. GORDON PAINE DR. JUNE POLLAK & MR. GEORGE POLLAK*

DR. STEPHEN M. ROCHFORD 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*

*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

GET INVOLVED GIVING.FULLERTON.EDU

music.fullerton.edu