Women's History Month 3.12.24 by Belmont University

Women’s History Month Concert

Brush Strokes for Flute, Oboe, and Bassoon (2015)

Alyssa Morris

I. Monet (b.1984)

II. Seurat

III. Van Gogh

IV. Pollock

Carolyn Totaro, flute Rebecca Van de Ven, oboe

Dong-Yun Shankle, bassoon

Sonata for Double Bass and Piano

Tiffany Freeman, double bass Alessandra Volpi, piano

Au jardin de mon père

When I died on Berner’s Street

Sofia Gubaidulina (b.1931)

Pauline Viardot (1821-1910)

Mary Howe (1882-1964)

poetry by Elinor Wylie (1885-1928)

Savanna Sokolnicki, soprano Elena Bennett, piano

Three Romances for Violin and Piano, Op.22

Clara Schumann

I. Andante molto (1819-1896)

II. Allegretto: Mit zartem Vortrage

III. Leidenschaftlich schnell

Elzbieta Tokarska, violin Elena Bennett, piano

Program Notes

Brush Strokes: Alyssa Morris received her undergraduate degree and master’s degree (2015) in oboe performance from Brigham Young University where she studied with Dr. Geralyn Giovannetti. While attending BUR, Morris performed as concerto soloist with the BYU Wind Symphony and the Philharmonic Orchestra, won the 2007 and 2014 BYU concerto competitions and received the Dean’s Award for the School of Music. As principal oboist of the BYU Philharmonic for three years and BYU Wind Symphony for two, Morris has performed throughout the United States and Europe. As a composer, Morris has been commissioned to write music for some of the most respected and proficient wind players in the United States. Her music has been recorded on the Centaur and MSR Classics labels. Her works have been presented at the Society of Composers Inc. National Convention and the International Double Reed Society Conference.

Brush Strokes is a musical depiction of specific works of art. Each movement briefly tells the story of a particular artist and their painting technique.

The first movement, Monet, depicts the constant movement of water that is present in many of Claude Monet’s paintings. Water lilies are the subject for approximately two hundred and fifty of his paintings. I also chose to rely on the water lily theme because there are many different images of water to portray. In one part of a stream the water may be calm, while further down the water may rage. Running water is ever changing, much like the swift brush strokes of Claude Monet. An impressionist, Monet’s paintings reflected his immediate impression of a particular subject or scene. He strived to capture the subject in a particular light, before the light changed. When the light changed, Monet started painting on a new canvas. I wanted to depict Monet’s swift painting and constant changing of light with frequently shifting chord progressions.

The second movement, Seurat, is a musical representation of the pointillist works by Georges Seurat. This movement is primarily inspired by Seurat’s paintings A Sunday Afternoon on the Island of La Grande Jatte and The Circus. Seurat’s brush stroke technique is very formulaic. If inspected closely, one can see that Seurat’s paintings are comprised of tiny strokes or “points” of pure color on the canvas. When the painting is viewed from a distance, the colors appear to blend and shimmer. This color blend effect is called “optimal mixing.” The music in the movement Seurat aims to depict the pointillist aspects of this artwork by frequently shifting the instrumentation and bouncing the melody from one player to another, and by the pointed and light attack of every note.

The third movement is Van Gogh. This movement depicts one of his best-known paintings, Starry Night. Van Gogh lived a life of loneliness and sorrow. Despite his talent as a painter, he was mentally disturbed. In 1889, Van Gogh committed himself to an asylum in Saint-Remy. It was here that he was inspired to paint Starry Night. Though at this point in his life Van Gogh was disillusioned by religion, he had not lost his belief in the afterlife. He expressed that he felt a strong need for religion, so he looked to the stars. Starry Night is filled with curves and rhythm, and the cypress tree in the front exudes a dark loneliness. The movement Van Gogh moves with a slow, rhythmic pulse and a curving melodic contour. The movement's darkness shows the loneliness of the cypress tree and Van Gogh.

Pollock is the final movement and is a musical representation of the works of Jackson Pollock who used the “drip” technique. Paintings such as One were created by pouring or dripping paint onto a canvas with hardened brushes, sticks, or syringes. Pollock laid his canvas flat on the floor to paint. His process was called action painting. The movement in Pollock is fast and full of energy, with chromatic and scalar flourishes depicting the paint being dripped, poured, and flung onto the canvas.

Brush Strokes was commissioned by the Athenia Chamber Ensemble (Alison Brown Sincoff, flute; Michele Fiala, oboe; and Matthew Morris, bassoon) with support from the Ohio University College of Fine Arts Creative Research Award.

Program notes by Alyssa Morris

Sonata for Double Bass and Piano: Sofia Asgatovna Gubaidulina was born in the USSR on 24 October 1931 in Chistopol, a small town in the Tatar Autonomous Soviet Socialist Republic, not far to the west of the Ural Mountains which form the natural border between Europe and Asia. Her father was Volga Tatar and a surveyor by profession, her mother of Russian and Polish descent, and the family language was Russian. While the composer was still a child, the family moved to the Tatar capital city of Kazan, and it was there she attended musical school, and then the Kazan Conservatory, studying piano and composition. Graduating in 1954, she transferred to the Moscow Conservatory, where she was taught by Nikolai Peiko and, later, Vissarion Shebalin, finally completing her studies in 1961. After admission to the Composers’ Union, an essential step for anyone wishing to earn a living writing music in Soviet times, she became a freelance composer, surviving by writing children’s music and, more importantly, film scores. Music for cinema became her main source of income for the next thirty years.

As a young composer in Moscow, Gubaidulina benefited from contact with her peers and from the open cultural atmosphere in the later Khrushchev years. It was at that time that she first established contact with important performers including the percussionist Mark Pekarsky (for whom she wrote many pieces including the percussion concerto The Hour of the Soul, 1976, rev.1988), the bassoonist Valery Popov (Concerto for Bassoon and Low Instruments, 1975) and the free-bass accordionist Friedrich Lips, for whom she composed the solo piece De profundis (1978) and the chamber concerto Seven Words for free-bass accordion, cello and strings (1982), the cello part being for Vladimir Tonkha, another major champion of her music.

Even at this preliminary period, the titles and character of her pieces made strikingly clear Gubaidulina’s fascination with religion, something which caused her trouble with the Soviet authorities, especially when her music was performed abroad. In 1980, she composed her first violin concerto, Offertorium (subsequently twice revised), for Gidon Kremer, who performed the piece widely across the world, thus garnering her international attention and commissions from many performers and orchestras in Western Europe, the USA and in Japan. In 1992, with the collapse of the USSR, she moved to a small village outside Hamburg, Germany, where she has lived ever since.

Her musical output over the last four decades has been astonishing, including a whole sweep of orchestral pieces from late Soviet works like Stimmen… verstummen… (1986) through early works from the post-Soviet period like Zeitgestalten (1994) and The Light of the End (2003) to the recent The Wrath of God (2020), one of her most powerful utterances. She has also completed two more violin concertos, several concertos for cello and many other concertantes including one for her beloved free-bass accordion and another for Japanese instruments with symphony orchestra.

For the composer herself, her choral and orchestral works are especially important, most of all the massive full-evening diptych of the Johannes-Passion (2000) and its companion piece Johannes-Ostern (2001). But she continues to compose a great deal of chamber music and still relishes her relationships with individual performers.

Over the years, Gubaidulina has been given many prizes, honours and awards, and in 2021, the year of her ninetieth birthday, there were celebrations of her life and work, in many countries of the world. Her greatest wish, however, remains that she should continue to write music, quietly and at home. Sofia Gubaidulina is published by Boosey & Hawkes/Sikorski.

Reprinted by kind permission of Gerard McBurney/Boosey & Hawkes

Sofia Gubaidulina's Sonata for Double Bass and Piano is in one extended movement and was composed in 1975. The music is discordant, acerbic, powerful, dramatic, but also lyrical, utilising many contemporary techniques for the double bass and the bassist is placed centre-stage throughout. This is not a duo-sonata in the true sense of the term, but the partnership between the two is still important and highly effective. Gubaidulina's music has been described as 'shockingly original', which is certainly the case with this work. Lasting twelve to fourteen minutes and with not a melody in sight, it still holds the attention from beginning to end. Gubaidulina contrasts and partners the two instruments creatively and adventurously, employing a wide range of colours, textures and timbres and the alchemy she works here produces a work of great beauty and imagination and has a simplicity and serenity which obviously stems back to her rich and unique mix of religious tradition from her native country.

Dan Styffe has written evocatively and informatively about the sonata and his approach to the work: "Some years back when I was looking for new repertoire for the bass, I came across Gubaidulina's Sonata. I fell for the piece immediately. Although it has a lot of ‘sound-scaping’, with different colours and effects, for me it is still a very singing, melodic piece. Everything can be played ‘singingly’ - even the ponticello and pizzicato passages, everything can be treated vocally. This is a wonderful piece with a lot of hidden ‘inner’ power. If you hit the right atmosphere, it can be very meditative and hypnotic."

Program Notes from “A History of the Double Bass in 100 Pieces” by David Heyes [4 October 2014]

Au jardin de mon père was composed by Pauline Viardot at the age of seventy-nine. A prolific 19th-century French composer, singer, and pianist, Viardot wrote a great deal for her students and composed with a youthfulness even late in her life. This song captures the essence of nostalgia and longing, as the protagonist reflects on the cherished memories of her father's garden. Viardot skillfully weaves together a delicate tapestry of melody and emotion, creating an intimate musical landscape, and vivid musical imagery that paints the picture from this fifteenth century poem.

Au jardin de mon père

Il y croît un raousier.

Trois jeunes demoiselles

L'y si vont ombraiger; Aymez-moy ma mignonne, Aymez-moy sans danger.

Trois jeunes demoiselles

L'y si vont ombraiger;

Trois jeunes gentilshommes

L'y si von regarder!

Aymez-moy ma mignonne, Aymez-moy sans danger.

In my father's garden

A red berry bush grows there.

Three young ladies

Will find shade there;

Love me my darling,

Love me without worry.

Three young ladies

Will find shade there;

Three young gentlemen

There if you look!

Love me my darling,

Love me without worry.

Je choisy la plus belle

Et la priay de m'aimer!

Mon père est dans sa chamber, Allez lui demander!

Aymez-moy ma mignonne, Aymez-moy sans danger.

Mon père est dans sa chambre, Allez lui demander!

Et s'il en est content, Je me veux accorder!

I choose the most beautiful And beg her to love me!

“My father is in his room, Go ask him!”

Love me my darling, Love me without worry.

My father is in his room, Go ask him!

And if he is happy with it, I will be as well!

When I died on Berner’s Street: Mary Howe began her career as an accomplished pianist. A notable figure in the world of music, she not only co-founded the Society of Women Composers but also played a pivotal role in backing the National Symphony Orchestra. Her composition, When I died on Berner’s Street, unfolds as a short collection of snapshots, each portraying the diverse fates of women in 1920’s London. The musical narrative, marked by changing tonalities and tempi in each woman’s story, serves as a powerful testament to the historical struggles faced by females of the time. Amidst these musical expressions, Howe weaves a hopeful conclusion in death, creating a profound and impactful composition.

Program notes by Dr. Savanna Sokolnicki School of Music Faculty

Three Romances for Violin and Piano was dedicated to close friend and virtuoso violinist, Joseph Joachim. Schumann and Joachim went on tour with this piece, and they even played it before King George V of Hanover who absolutely loved the work.

I. Andante Molto

The first romance begins with a “gypsy pathos opening” which leads into a very emotional melodic framework. The brief central theme is then developed and embellished throughout this romance. This movement is incredibly passionate and the dialogue between the piano and violin is incredibly effective. The main theme is based loosely on arpeggios, with the last section of this movement referring to Robert Schumann’s First Violin Sonata

II. Allegretto: Mit zartem Vortrage

The more somber and solemn second romance is in g-minor, and almost sounds like a chorale in the outer sections. The violin here has the declamatory, pathos-laden main theme with characteristic leaps of an octave that recur often. The piano merely supports with chords below until it too picks up the leaps, leading into the middle section and into a bright G-major. The middle section has the two instruments playing with ease and in harmony, creating an amicable, pastoral feel. Both the nature of the theme and its rendition, with numerous ornamental trills, evokes bird like calls and yodels, supplanting the listener in a German countryside. A section then returns, closing with the theme from the middle section now in g-minor and restoring balance.

III. Leidenschaftlich schnell

The final romance is the most emotional and intense. The piano opens with passionate rising arpeggios, over which the violin carries a beautiful melody. In some ways, it is reminiscent of Robert Schumann’s song Widmung, written on the couple’s wedding day on September 12th, 1840.

This B-flat romance is also the most complex in terms of variety of material, with a middle section that lessens excitement, but not by much. A staccato version of the opening material returns, as do the arpeggios.

Program notes by Dr. Elzbieta Tokarska, School of Music Faculty

About the Performers

Dr. Carolyn Totaro is an Assistant Professor (Flute) in the Belmont University School of Music. Before moving to Nashville in 2005, Totaro taught applied flute, music history, and music appreciation at Southeastern Louisiana University and then served as the Graduate Coordinator for the School of Music at the University of Southern Mississippi, where she also served as an adjunct flute instructor. She has performed with symphony orchestras in Alabama, Mississippi, Ohio, Tennessee, and Texas. Totaro has been the director of the Nashville Philharmonic Flute Ensemble and currently teaches flute and coaches chamber ensembles at the Tennessee Valley Music Festival each summer. Totaro received her Doctor of Musical Arts from the University of Texas (at Austin), her Master of Music (Flute) and Master of Music (History) from the University of Akron and her Bachelor of Music Education and Bachelor of Music from Baldwin-Wallace Conservatory of Music. Totaro’s primary instructors have included William Hebert (Cleveland Orchestra), Jaqueline Hofto (Interlochen Arts Academy), Peter Lloyd (London Symphony, London Virtuosi), and George Pope (Akron Symphony, Solaris Wind Quintet).

Rebecca Van de Ven joined the faculty at Belmont University and Tennessee State University in 2018 and the faculty of the University of the South in 2011. Prior to that, Van de Ven taught at Middle Tennessee State University, Albion College, and Spring Arbor University. In addition, she is on faculty at the Sewanee Summer Music Festival where she coaches and organizes the wind chamber music program. Van de Ven frequently records music in Nashville and can be heard playing English Horn on season three of the Emmy winning hit TV series Fargo as well as the 2016 Evanescence Album. She currently plays the second oboe in the Nashville Opera. Her orchestral engagements have included orchestras such as Nashville Symphony Orchestra, San Francisco Symphony, and Grand Rapids Symphony. She can also be found playing regionally in Chattanooga and Huntsville Symphonies and in staged works at Tennessee Performing Arts Center. On a full tuition scholarship, Van de Ven received a Master of Music degree from the San Francisco Conservatory in oboe performance where she was a student of Eugene Izotov, current Principal Oboe of the San Francisco Symphony. She attended the University of Wisconsin, Madison on tuition scholarship where she earned a Bachelor of Arts degree and a Bachelor of Science degree. She was a student of Professor Marc Fink. Van de Ven attended the Pierre Monteux Music Festival in Maine and was awarded a full scholarship to the Music Academy of the West in Santa Barbara, California. She lives in Sewanee, Tennessee with her husband and two children.

Dong-Yun K. Shankle is an adjunct bassoon professor at Belmont and Trevecca Universities. She is a member of Belmont’s faculty woodwind quintet. She has also taught at Western Kentucky and Campbellsville Universities. She is the principal bassoonist in the Paducah Symphony Orchestra, and Parthenon Chamber Orchestra. She has also been principal in Orchestra Kentucky, Jackson Symphony, Owensboro Symphony, and Western Kentucky. Shankle has had a distinguished career



as a symphony bassoonist, recording artist, chamber musician, and soloist with orchestras in Asia, Europe, Russia, and America. During her twenty year career in Korea, she has worked in the Seoul KBS Symphony Orchestra. She was the principal bassoonist in the Busan Philharmonic Orchestra and the Asian Six Nations Orchestra in Fukuoka, Japan. She has appeared as a soloist with the Russia St. Petersburg Symphony Orchestra, Moscow Chamber Orchestra, Plovdiv Philharmonic Orchestra, Sofia Orchestra both in Bulgaria, Seoul KBS Chamber Orchestra, Busan Philharmonic Orchestra, Port Angeles Symphony Orchestra, Paducah Symphony Orchestra, and many other orchestras all over Asia, Europe, and America. Shankle had the honor of playing principal bassoon in some of the world's greatest concert halls such as: Carnegie Hall in New York, Kennedy Center in Washington DC, Walt Disney Concert Hall in Los Angeles, Esplanade Concert Hall in Singapore, Kuala Lumpur Hall in Malaysian. Also, she performed recitals with internationally known performers such as Emmanuel Abbuel (Principal Oboist/London Philharmonic), Kirill Sokolov (Principal bassoon/St.Petersburg Philharmonic), Valeri Popov (Principal bassoon/ Moscow Symphony), Otto Eifert (Principal Bassoon/Cincinnati Symphony), and many more. Shankle graduated from Daegu Catholic University, where she received a Bachelors and master’s degree in Bassoon Performance and Music Education. After that, she studied in Holland for a Performance Soloist Degree from the Rotterdam Conservatorium. While in school she won the prestigious Seoul Dong-A International Music Competition. Dong-Yun has three solo CDs on the Sung-Eum label. Her CD’s have received favorable reviews from Ron Klimko of the IDRS.

Dr. Tiffany Freeman began her current position in the Fall of 2022 as a String Faculty Fellow in the College of Music and Performing Arts at Belmont University. The previous year, she was with the School of Music as an adjunct professor of Classical Double Bass. Freeman received her bachelor’s degree in 1996 in Double Bass Performance from the University of Missouri- Columbia where she studied with Sue Stubbs and was recruited to study for her master’s and doctorate program at Indiana University- Bloomington with Bruce Bransby, where she received her DMA in Music Performance in May of 2015. Due to her professional musical experiences, she has had multiple opportunities to play with different orchestras throughout the United States including, the Sphinx Symphony Orchestra, the Grand Rapids Symphony, the Louisville Symphony Orchestra, and the West Virginia Symphony. In January 2020, she was able to participate in the sixty-second Grammy Awards. She is currently a musician in a chamber music group called, Intersection Contemporary Ensemble, a group that commissions musical works of current composers and tries to bring a different concert experience to its audience; she is also a current member of the International Society of Bassists.

Italian Pianist Alessandra Volpi began her piano studies at age four at the Florence Conservatory and holds degrees and artist diplomas from the Milan Conservatory, Utah State University, and the Liszt Academy in Hungary. Volpi’s career encompasses a vast and eclectic range of collaborations and performances such as playing with orchestras in the United States and Italy, premiering works for Nashville Ballet, working with chamber ensembles, recording the works of women, and living composers and more. Volpi is currently working as Resident Staff Pianist and Coach at Belmont University, Rehearsal Pianist for the Nashville Ballet and serves on the Faculty of the Opera Lucca Summer Festival in Lucca, Italy

Dr. Savanna Sokolnicki is a sought-after singer, vocal instructor, lecturer, and language expert. Currently a Lecturer in Classical Voice at Belmont University, Sokolnicki also serves as the Tennessee District Governor for the National Association of Teachers of Singing (NATS).

Sokolnicki’s students have seen success in vocal competitions, summer programs, and performances all over the world. Sokolnicki is a versatile performing artist whose repertoire encompasses everything from bel canto and romantic operatic repertoire to cutting-edge contemporary works. Recent career highlights include a series of commercial performances in association with the Chicago Lyric Opera Building, the world premiere of Wide Waters by Canadian composer Ronald Beckett, and performances with Nashville Opera in Les Contes D’Hoffmann and Amahl and the Night Visitors. Other performing credits include the role of Mrs. Peachum in Street Theatre Company’s production of Threepenny Opera, Carlotta in Phantom of the Opera (UK Opera Theatre), Donna Elvira in Don Giovanni (Opera in Orvieto), Juliette in Gounod’s Roméo et Juliette (UK Opera Theatre), Lily in Eastman Opera Theatre’s production of The Secret Garden, Echo in Ariadne auf Naxos (Eastman Opera Theatre), Freulein Schneider in Cabaret (Eastman Opera Theatre), Olga in The Merry Widow (Eastman Opera Theatre), and Adele in Die Fledermaus (AIMS in Graz).

Sokolnicki holds the D.M.A degree from the University of Kentucky and her dissertation is entitled Gretchen's Soliloquy "Ach Neige Du Schmerzenreiche" from Goethe's Faust: A vocal performance analysis and set of performance guidelines for various solo voice settings. She also holds a Master of Music Degree in Vocal Performance and Literature at the Eastman School of Music in Rochester NY and completed her undergraduate work at Eastman, as well, receiving a Bachelor of Music Degree in Voice Performance.

Born in Moscow, Russia, Elena Bennett received her bachelor’s and master’s degrees in piano performance from the Russian Academy of Music, recognized worldwide as one of the premier conservatories in Russia. In addition to working with many internationally recognized professors, she has studied with Lev Naumov, chief assistant to the world-famous Russian pianist and teacher Heinrich Neuhaus, whose students included Svyatoslav Richter. Bennett is a full time Instructor of piano and a faculty member in the Belmont University School of Music since 2000. Bennett teaches class piano, applied piano, and collaborative piano and serves as a pianist for the School of Music’s largest ensemble, Oratorio, Christmas at Belmont, and the President’s Concert. Bennett serves as Class Piano Coordinator and Accompanist Coordinator in the School of Music. Bennett also serves as an academic advisor in the School of Music and a former Faculty Senator-at-Large. Bennett regularly performs in collaborative and solo recitals throughout the Southeast, including numerous appearances with the Nashville Ballet, Nashville Symphony, including their Spring 2012 performance in Carnegie Hall, Nashville Opera, Belmont Faculty Concert Series, Belmont Camerata, Vanderbilt and Sewanee Universities, Frist Museum for the Visual Arts, Tennessee State Museum, and recitals for Leadership Music. Many of her performances have been broadcast on Nashville Public Television. Bennett serves as a collaborative pianist for the National Orpheus Competition and Metropolitan Opera auditions. She is also an accomplished television producer. Her accolades include creation of the first broadcast directory for Russia, an American Bible Society documentary, a film on the Tretyakov Gallery in Moscow, and production credits with Russian National Television “Ostankino,” where she was the producer of numerous musical and variety shows and entertainment news.

Dr. Ela Tokarska is a distinguished violinist, violist and pedagogue with rich musical experience expanding throughout Europe, the United States and Asia. Tokarska performs regularly as a soloist, chamber musician, recitalist, and orchestral musician. Born in Poland, Tokarska began her formal musical education at the Arthur Rubinstein School of Music in Bydgoszcz and continued

her studies at Feliks Nowowiejski Academy of Music in Bydgoszcz as a violin student of Prof. Jadwiga Kaliszewska. During her time in Poland, Tokarska has won many prestigious national competitions including the National Audition of String Instruments (2004, 2006), the Johann Sebastian Bach National String Competition (2005), was awarded the European Center of Culture Award (2005), as well as the Viva La Musica Foundation Award (2005-2007), and from 2007-2010 was granted the Marshal of Torun Scholarship for her musical achievements. In 2010, Tokarska was awarded a prestigious Woodruff Scholarship that allowed her to continue her musical education under Prof. Sergiu Schwartz at the Columbus State University, Schwob School of Music in The United States. Tokarska established herself in recent years as an active performer and pedagogue. In the summer of 2013, Tokarska was touring around Japan in a series of Tokarski Duo concerts, which was supported by the Polish Embassy in Japan and the Polish Institute in Tokyo, where she performed alongside her brother and pianist Kamil Tokarski. In 2017 Tokarska was awarded the Second Prize Winner of the American Fine Arts Festival International Concerto Competition. In 2018 Tokarska served as an Adjunct Professor at LaGrange College in Georgia and from 2019 to 2022 was an Instructor of Violin at the University of North Carolina in Greensboro. She holds a Doctoral Degree in Violin Performance and Pedagogy Cognate from the University of North Carolina, Greensboro, bachelor’s degree, master’s degree as well as her Artist Diploma in Violin Performance from the Columbus State University, Schwob School of Music. Tokarska performs on a violin made by Wojciech Topa in 2016, in Zakopane, Poland. Tokarska joined the faculty of Belmont University in the fall of 2023. 

Upcoming Concerts and Events

Join Belmont University’s College of Music and Performing Arts for The Sounds of Belmont on Saturday, April 20th in the Fisher Center for the Performing Arts. Experience an evening of stories and songs to support our talented students. The concert will begin at 6:30 p.m. followed by a festive dessert reception for all guests and performers. The purchase of a ticket to this concert and reception will benefit endowed music and theatre scholarship funds for students in the college. Premier works from the College of Music and Performing Arts Fall 2023-Spring 2024 performance season will be showcased. This concert and reception is celebrating its thirty-fourth year (formerly the President’s Concert and Reception

For more information on upcoming concerts and events, please visit www.belmont.edu/cmpa or “like” Belmont University School of Music on Facebook.

). 