Epoch Percussion Quartet
Phoebe Robertson, flute
TJ Perry, trumpet
Katherine Rohwer, guest conductor
Linthicum-Blackhorse, guest composer
Danielle Fisher, guest composer
Brian Balmages, guest composer
Dear colleagues and friends,
Thank you for being with us tonight, and thank you to our friends at the University of North Texas for the opportunity to perform in this beautiful hall this evening.
Thank you to our colleagues of the CBDNA, SW Division president Andrew Trachsel, past president Caroline Beatty, and to the ATU administration, faculty, staff, alumni and friends who have made this performance possible.
Thank you to the members of the Arkansas Tech University Symphonic Wind Ensemble for their dedication to their craft and commitment to one another. It has been a privilege to prepare this program with you!
The music means a great deal to us, and I am grateful for so much and to so many:
Cory Fica and the incredible Epoch Percussion Quartet have performed Viet Cuong’s breathtaking Re(new)al in concert halls all over the country. Their brilliant playing, combined with Cuong’s inspired composition, have enhanced our lives.
Linthicum-Blackhorse’s evocative and beautiful Mnicakmun is establishing itself at the core of the repertoire for flute. We are grateful to get to know him during this process and for his presence here tonight. My dear colleague Phoebe Robertson brought this music to my attention and we are grateful for her exquisite artistry as our soloist.
As we all know, David Biedenbender has established himself at the center of artistic composition for winds and percussion. River of Time has rightly received acclaim and performances all over the world. I was thrilled when fellow Michigan State University alumnus TJ Perry accepted my invitation to perform it. His skill as a trumpeter is only rivaled by his generosity and tireless support for all things in our department.
My friend and colleague Katherine Rohwer taught me about Caroline Shaw’s haunting and the swallow when her spectacular choir performed and recorded it. When I learned that my friend of many years Danielle Fisher set this beautiful music for chamber winds, it was immediately on the short list for this performance. When Katie agreed to guest conduct, the decision was made. I am so grateful for her, and that Danielle Fisher is with us tonight.
When I first met Brian Balmages as a fellow graduate student at the University of Miami, it was immediately apparent that he was a special musician with a special work ethic. So, it has been a true joy to observe his development into one of the leaders in wind band composition and instrumental music education in the world. Every conductor in this room is familiar with one (or more) of Brian’s wonderful compositions. I believe that Windows and Mirrors will establish itself among the major works in our repertoire for winds and percussion. It exhibits Brian’s mastery of craft and technique, as well as his deep and sincere thoughtfulness, kindness, and wisdom. We are grateful that Brian is here with us tonight.
Thank you one and all for this opportunity to share this music which means so much to us. It is truly an evening amongst friends and those who inspire us all the most.
Yours,
Dan
Viet Cuong (b. 1990) (2019)
III. Solar
Epoch Percussion Quartet
Nigel Fernandez, Cory Fica, Oni Lara, Andrew Lynge, percussion
Mnicakmun Linthicum-Blackhorse “Sounds of Water” (b. 1989) (2022/2023)
I. Mnicásniyanyanla (Rippling Water)
II. Mnicáluza (Rapid Water)
III. Mnióhuta (The Shore)
Phoebe Robertson, flute Linthicum-Blackhorse, guest composer
from River of Time David Biedenbender Concerto for Trumpet and Wind Ensemble (b. 1984) (2024)
III. Crossing
TJ Perry, trumpet and the swallow Caroline Shaw/Arr. Danielle Fisher (2012/2017) (b. 1982/1986)
Katherine Rohwer, conductor
Danielle Fisher, guest composer
Windows and Mirrors Brian Balmages Symphony for Band (b. 1975) (2024)
I. Common Thread
II. Reflection of the Dark
III. Window to the Soul
IV. Finale
Brian Balmages, guest composer
“I have tremendous respect for renewable energy initiatives and the commitment to creating a new, better reality for us all. Re(new)al is a percussion quartet concerto that is similarly devoted to finding unexpected ways to breathe new life into traditional ideas, and the solo quartet therefore performs on several ‘found’ instruments, including crystal glasses and compressed air cans. And while the piece also features more traditional instruments, such as snare drum and vibraphone, I looked for ways to either alter their sounds or find new ways to play them. For instance, a single snare drum is played by all four members of the quartet, and certain notes of the vibraphone are prepared with aluminum foil to recreate sounds found in electronic music. The entire piece was conceived in this way, and even the accompaniment was written with these ideas in mind. ...All of the music played by the solo quartet is comprised of single musical ideas that are evenly distributed between the four soloists... [and] would therefore be dysfunctional without the presence and dedication of all four members.
Re(new)al is constructed of three continuous movements, each inspired by the power of hydro, wind, and solar energies. The hydro movement transforms tuned crystal glasses into ringing hand bells as the wind ensemble slowly submerges the soloists in their sound. The second movement turns each member of the quartet into a blade of a dizzying wind turbine, playing seemingly-impossible 90’sinspired drum and bass patterns. The closing movement simulates a sunrise and evokes the brilliance of sunlight with metallic percussion instruments. This piece was originally written with a sinfonietta accompaniment, and in its original form was commissioned for the 2017 American Music Festival by David Alan Miller and the Albany Symphony’s Dogs of Desire in partnership with GE Renewable Energy. A full orchestra version was commissioned in 2018 by the Albany Symphony, and this version for wind ensemble was commissioned by a consortium of ensembles. Heartfelt thanks to everyone who has been involved in any of the three versions of this piece.“
– Viet Cuong
“Mnicakmun, or Sounds of Water, began as a project for my composition studio class at Texas Tech University. The first movement was written with the total absence of classical triadic harmony. As I continued to write the piece, I began to break from the strict rules that I set for myself and developed what I believe is a beautiful representation of the different emotions a person experiences in life, using water as the imagery.
The title was a last-minute realization that I had written the piece with the Lakota Sioux native flute in mind, so I found it suitable to name the piece and its movements in the Lakota language. The word "mnicakmun" is both the description and terminology for the sound that water makes when moving over a rocky surface.”
“River of Time was commissioned by, and written for, trumpeter Neil Mueller, conductor Timothy Muffitt, and the Lansing Symphony Orchestra. This version for wind ensemble was premiered by Caleb Hudson and the University of Texas Wind Ensemble, Jerry Junkin, conductor, in Carnegie Hall. The wind ensemble version was awarded the 2024 American Bandmasters Association Sousa/Ostwald Award.
In the spring of 2023, I was studying conducting with my friend Kevin Noe when he used the phrase “river of time” to describe the flow of music through time. I also happened to be reading two books that examined time from different perspectives: Marcus Aurelius’ Meditations and Carlo Rovelli’s The Order of Time. Rovelli’s book explores the mysteries of time through the lens of physics, woven together with poetry, philosophy, art, and history, while Meditations, although not directly about time per se, certainly grapples with life’s ephemerality. I remember this passage from Meditations: Book Five jumping right off the page:
Keep in mind how fast things pass by and are gone—those that are now, and those to come. Existence flows past us like a river: the “what” is in constant flux, the “why” has a thousand variations. Nothing is stable, not even what’s right here. The infinity of past and future gapes before us—a chasm whose depths we cannot see…
(translation by Gregory Hays)
The “river of time” became the conceptual thread that pulled together the musical and philosophical ideas that I had not yet been able to pull together into a coherent whole—it’s as if this piece became my own personal way of exploring, knowing, and communicating these ideas.
The third movement is called Crossing. Our perception of time is often linear, but what if it was circular or it could be bent? What if we could exist outside of it? What if we could traverse the river of time?”
– David Biedenbender
Originally a choral work, Shaw composed and the swallow for the Netherlands Chamber Choir in 2017. In reflecting on the Syrian refugee crisis, Shaw was struck by the text “how beloved is your dwelling place” from Psalm 84. The result was a lovely work of comfort that moves seamlessly from sections of anxiety and those of repose. The wind ensemble version was transcribed by composer Danielle Fisher for Tyler Austin and the Maryland Chamber Winds.
Windows. Mirrors.
A way for us to look at others while having a barrier between us, allowing us to judge freely without being in the same space.
A way for us to look at ourselves, also providing a barrier, but rarely does that allow us to judge ourselves freely
“Amidst so much turmoil throughout the world, it seemed that these two ideas could come together to form a challenging, yet compelling, look at the very essence of our humanity. Thus, Windows and Mirrors became the title of my first symphony for band.
Just shy of 30 minutes long, the piece explores our shared humanity through four movements. Movement 1, Common Thread, is a reminder that we all share much more than what divides us. It begins with an interval of a major second, which becomes one of the cornerstones of the entire work. I wanted to begin with something extremely simple and show how music much more complex and expressive can grow out of that interval. Eventually, an interval of a minor third is presented, which gently foreshadows the concept of growth that will take place. A solo euphonium presents the main theme present throughout the entire work. It should be noted that the initial solo instruments of alto saxophone and euphonium clearly define this work as a symphony for band. The movement takes the listener through a range of styles and emotions, once again referring to the unique development of different ideas, yet reminding us that everything was born from the same spark of an idea.
The second movement, Reflection of the Dark, explores hate, conspiracy theories, protests, vitriol, and violence – I wanted to create a space where we are forced to confront these forces and, honestly, feel a bit uncomfortable at times. The reflection, of course, is a reference to the mirror, and is meant to have us consider whether this is about everyone else out there, or whether we may be (even if just a little) looking at ourselves in a mirror. Many of us can be quick to judge, and social media has made it so incredibly easy to hurl out insults and spread hate without ever having to confront our subject. It is easy to assume, judge, and accuse rather than stop, consider, and question. In some respects, this movement reflects the collapse of open dialogue and discussion, replacing it with anger and hate. At one point in the movement, listeners begin to hear layer upon layer of “chant” – musical phrases written to correspond with the pitch and rhythm characteristics of numerous protests, whether in the streets or on college campuses, whether about religion, politics, climate, abortion, race, sexism, LGBTQIA+ issues, or a host of other issues that divide us. As all of these chants are juxtaposed, it becomes overwhelming but doesn’t stop. And to be clear, I am not judging the protests themselves; rather, I am writing about the fury that arises between protest groups on so many issues.
This movement explores that space where no one listens to each other and everyone is yelling and accusing without taking even a moment to consider where the other humans, who have the same origin story as we do, are coming from. In writing this movement, I did something I have never done before. I sketched the entire movement by hand away from a computer and piano. Just me, a kitchen table, pencil and paper. I did not want to be tied to what I could play on piano, or what I could hear on a computer. I just wanted to let my imagination go and respond to all that anger, hate, and vitriol.Only when I completed the movement did I go to the computer and begin to orchestrate. About 90% of the final movement that sketch closely, while the remaining 10% involved some rewrites and additional sections I added once I had orchestrated thethe entire movement. (The lyrical part toward the end of the movement was not originally there, and I felt almost immediately that it was missing).
The third movement, Window to the Soul, draws inspiration from Gounod’s Ave Maria. After so much rage, I wanted to explore the depths of our own being and what it means to truly be alive. This idea came to me on a Friday and I somewhat questioned whether this was the direction I wanted to go. Just two days later, I was in church and they offered for people to stay after mass and say the Rosary, which of course includes The Hail Mary. I stayed, knowing that this was a very clear indication of the path I needed to take. I finished the first draft of the movement that night. The melody, while falling short of directly quoting Gounod’s version, sounds like a familiar, comforting friend having a welcoming dialogue in a safe space. This movement has no “huge” climactic moment as I wanted the music to feel more inward and personal.
The final movement, Finale, takes that title for two reasons. Yes, it reaches back through the entire work, drawing on themes, motives and a host of other musical elements; but it also asks us to consider the other shared element of our humanity -- the "finale" of our lives, and in that moment, what we truly treasure: the relationships we value; the separation of material needs and the focus on more. It takes the listener on a massive journey where we seem to encounter everything we have already witnessed, but hopefully with a slightly new perspective. And in the final moments, my hope is that everyone -- performers and audience members -- stop for a moment and think about what it really means to be human and how we may be able to share that humanity with others.
I believe that music can bring beauty into a world that so desperately needs it. I believe that music can also draw attention to what is wrong with the world, and that it can help us heal. I believe that music can recenter us, guide us, and bring us together. It is with all of this in mind that I offer my first symphony for bandWindows and Mirrors.”
– Brian Balmages
Thank you members of the 2024-25 Symphonic Wind Ensembles whose recordings earned this opportunity tonight.
to these members of the 2026 Symphonic Wind Ensemble and the
Daniel A. Belongia is Professor of Music and Director of Bands at Arkansas Tech University. As such, he conducts the Arkansas Tech University Symphonic Wind Ensemble, teaches undergraduate and graduate conducting, music education, and serves as administrator and support for all ATU bands, band faculty, programs and events. He is an active guest conductor, clinician, and adjudicator throughout the United States, Canada, and Europe.
Dr. Belongia has presented concerts and clinics at diverse events such as the regional and national conventions of the College Band Directors National Association, state and regional music educator conventions, the Bands of America Grand National Championships, and Carnegie Hall. Ensembles under his direction have released seven recordings on the Naxos and Tonsehen labels, and the Arkansas Tech University Symphonic Wind Ensemble earned the 2022 “American Prize” in College/University wind ensemble performance.
Dr. Belongia served as a middle and high school band director in Florida andTexas, and holds the Doctor of Musical Arts degree in wind conducting from Michigan State University. He earned bachelor and master's degrees in music education and performance at the University of Miami Frost School of Music.
His research has been published in the Journal of the World Association of Symphonic Bands and Wind Ensembles, the Journal of The International Society for the Investigation and Promotion of Wind Music, the National Band Association Journal, the Instrumentalist Magazine, Keynotes Magazine, and multiple volumes of the Teaching Music through Performance in Band and Teaching Music Through Performance in Beginning Band reference series.
He is a member of the advisory board of Music For All/Bands of America “Advocacy in Action,” an elected member of the board of the “New Works Project,” and an elected member of the board of the Arkansas College Band Directors Association. His professional affiliations include the Arkanas School Band and Orchestra Association, the College Band Directors National Association, the National Band Association, the Conductor’s Guild, the National Association for Music Education, Phi Beta Mu, and he serves proudly as an Educational Clinician for the Conn Selmer Corporation.
He is most grateful to be husband to Jill Belongia, a certified yoga therapist and owner of JB Wellness studio, and father to Jennifer, Allison, and Jack Belongia.
Taylor Brigance*
Bachelor of Music Education - Siloam Springs, AR
Lydia Logston
Bachelor of Music Education - Spiro, OK
Alex Perez
Bachelor of Music Education - Clarksville, AR
Eaddie Sanchez
Bachelor of Music Education - Russellville, AR
Rebecca Davis*
Bachelor of Arts - Cabot, AR
Mary Best
Bachelor of Music Education, Lonoke, AR
Jordan Clark
Bachelor of Music Education - Benton, AR
Vincent Dischiavi
Bachelor of Music Education - Russellville, AR
Holten Friend
Bachelor of Music Education - Deltona FL
Lizbeth Nuñez
Bachelor of Music Education - Dardanelle, AR
Aryana Robison
Bachelor of Music Education - Charleston, AR
Martha Smith Gomez
Bachelor of Music Education - Decatur, AR
Kelton McGhee*
Bachelor of Music Education - Morrilton, AR
Jennifer Belongia
Bachelor of Music Arts - Russellville, AR
Brandon Williams*
Bachelor of Music Education - Russellville, AR
Teagan Hartwright
Bachelor of Music Education - Lucas, TX
Rhett Neagles
Bachelor of Accounting - Russellville, AR
Bachelor of Music Education - Sheridan, AR
Osvaldo Ramirez
Bachelor of Arts - Dardanelle, AR
Bachelor of Music Education - Hot Springs, AR
Bachelor of Music Education - Hot Springs, AR
Bachelor of Music Education - Russellville, AR
Bachelor of Music Arts - Cabot, AR
Bachelor of Music Arts - East End, AR
Kris Campbell*
Bachelor of Music Education - Alma, AR
Gabriel Avila
Bachelor of Music Education - Dardanelle, AR
Addy Barnes
Bachelor of Music Education - Greenwood, AR
Savana Green
Bachelor of Music Education - Hot Springs, AR
Evelyn Leding
Bachelor of Music Education - Ozark, AR
Owen Ridenhour
Bachelor of Music Education - Waldron, AR
Jacob Thompson
Bachelor of Music Education - Ozark, AR
Gunner Hodges*
Bachelor of Science in Physics and Mathematics
Harrison, AR
Gabe Graff
Bachelor of Music Education - Cabot, AR
Taylor Jacobs
Bachelor of Music Education - Mount Ida, AR
John Carl Laidler
Bachelor of Music Arts - Chilliwack, BC
Blake Mitchell*
Bachelor of Music Education - Cabot, AR
Preston Keeter*
Bachelor of Music Arts - Springdale, AR
Elisha Escobar
Bachelor of Music Education - Russellville, AR
Marvin Velazquez
Bachelor of Music Education - Waldron, AR
Lorenzo Castelano-Chavez*
Bachelor of Music Arts - Dardanelle, AR
Sydney Stalnaker
Bachelor of Music Education - Ola, AR
Jesse Wells*
Bachelor of Music Education - Sheridan, AR
Ryder May
Bachelor of Music Education - Hot Springs, AR
Colleen Potter Thorburn
Doctor of Musical Arts - Conway, AR
Emanuel Chambers*
Bachelor of Music Education - Hector, AR
Axel Arroyo
Bachelor of Music Arts - Rogers, AR
Nathan Brady
Bachelor of Music Education - Cabot, AR
Miguel Diaz-Moreno
Bachelor of Music Education - Dardanelle, AR
Renlee Espinosa
Bachelor of Music Education - Bald Knob, AR
Kira Odom
Bachelor of Music Education - Ozark, AR
Kraigen Partee
Bachelor of Music Education - Mt. Home, AR
Peyton Stephens
Bachelor of Journalism - Springdale, AR
PianoAdam P. Miller
Doctor of Musical Arts - Monroe, MI
Fayetteville,
Hal
Fayetteville,
Daniel A. Belongia Conductor
Denton, TX
Daniel A. Belongia Conductor
First ATU performance at the
Hal D. Cooper Sr, Conductor
First ATU performance at
Daniel A. Belongia, Conductor
Director of Bands, Emeritus Hal D. Cooper Sr
Director of Bands, Emeritus “Chief” Gene Witherspoon
Epoch Percussion was formed at The University ofTexas at Austin in 2016. Members Dr. Andrew Lynge (The University of Alabama), Nigel Fernandez (NewYork, NY), Dr. Oni Lara (The United States Army Band "Pershing's Own"), and Dr. Cory Fica (Arkansas Tech University) were students when they created the quartet to perform Dinuk Wijeratne’s Invisible Cities with Jerry Junkin and The University of Texas at Austin Wind Ensemble. Now with over a dozen concerto performances, Epoch Percussion have been featured soloists with groups such as the Dallas Winds, The University of Texas at Austin Wind Ensemble, The University of Alabama Wind Ensemble, Columbus State University Wind Ensemble, Kennesaw State University Wind Ensemble, Las Vegas Academy of the Arts Wind Ensemble, and the World Youth Wind Symphony at the Interlochen Arts Camp.Additionally, Epoch have been featured soloists at conferences such as the Midwest Clinic and the American Bandmasters Association. Most recently, the group premiered the wind ensemble arrangement of electroacoustic concerto Orbital by John Psathas with the Dallas Winds and The University of Texas Wind Ensemble in 2023.
Cory Fica is professor of percussion at Arkansas Tech University. At ATU, Fica directs the ATU Percussion Ensemble, teaches applied percussion lessons, percussion methods and leads the ATU Band of Distinction Drumline.
Recently, Fica was concerto soloist with the ATU Symphonic Wind Ensemble, performing Mason Bates’ Sideman during their Arkansas tour in November 2024. A professional recording will be released later this year. In December 2025, Fica performed percussion quartet concerto, Viet Cuong’s Re(new)al, alongside his students and the ATU Symphonic Wind Ensemble.
Prior to moving to Arkansas, Fica was a freelance performer and educator in the Austin, Texas and Miami, Florida areas where he played in a variety of ensembles that from orchestral and contemporary chamber music to pop and rock. These ensembles include NewWorld Symphony, Nu Deco Ensemble, Miamibloco, Central Texas Philharmonic, among others. Since 2023, Fica has been on the music faculty for the Georgia Governor’s Honors Program (GHP), where he is the director of percussion studies.
Hailed as “exquisite” by the WASBE Journal, flutist Phoebe Robertson is Assistant Professor of Music at Arkansas Tech University. Her solo and orchestral performances have brought her to venues such as Amsterdam’s Royal Concertgebouw and Hamburg’s Elbphilharmonie, as well as halls from coast to coast across North America. She has appeared as a soloist with ensembles including the National Arts Centre Orchestra, the Carnegie Mellon Philharmonic, and Symphony New Brunswick.
A recipient of the Grand Prize in the National Arts Centre Orchestra Bursary Competition, Dr. Robertson has since performed in competitions and festivals throughout North America and Europe. In 2023, her recording of David Maslanka’s Song Book for Flute and Wind Ensemble, with Daniel A. Belongia and the Arkansas Tech University Symphonic Wind Ensemble, was released on the Tonsehen label. In 2025, she and colleague Dr. Cory Fica co-led a consortium to commission a new work for flute and percussion by Carolina Calvache, to be released on streaming platforms in 2026. In 2027, she will embark on a Debut Atlantic tour with pianist Pierre-André Doucet.
She takes great delight in her students’ successes. Her mentees include recipients of the Jack Kent Cooke Young Artist Award from From the Top, authors published in the Nota Bene journal, and students admitted to leading conservatories and universities across NorthAmerica.
Raised in Sackville, New Brunswick, Canada, Dr. Robertson earned her Doctor of Musical Arts degree from the Manhattan School of Music, where she studied with Linda Chesis and Robert Langevin. She holds a Master of Music degree from Carnegie Mellon University, studying with Lorna McGhee, and a Bachelor of Music degree from the University of Ottawa, where she studied with Camille Churchfield. Her studies and professional activities have been generously supported by the Sylva Gelber Music Foundation, the O’Brien Foundation, and the Friends of the NationalArts Centre Orchestra.
Linthicum-Blackhorse [b.1989] is a multi-ethnic music composer in North America that has been actively commissioned, writing music for ensembles and performers across the globe. He has taught as an Adjunct Professor of Western Music Theory and performed as a Guest Artist for numerous ensembles.
His works include a wide array of themes stemming from his cultural, environmental, and spiritual influences; namely his Latino, Anglo, and Lakȟóta heritages. He is currently a freelance composer living in the United States of America. Dr. Blackhorse is an active member of the global LGBT+ community, giving voice to all of those who are marginalized for identifying outside of the hetero-normative Anglo-Christian American colonial stereotypes – with the goal of one day being granted equal liberty in our collective humanity.
As a ČhaŋnúŋpaYuhá (American Indian Pipe-Carrier), he has spent years participating in ceremony and spiritual education with a desire to provide factual and honest information to the public. In 2021, MOSAIC™ was launched as a platform that consolidates the research and knowledge of traditional spirituality. Dr. Blackhorse has been inspired by, and learned from, tribal elders likeAlbert White Hat Sr., Sičháŋǧu Lakhóta, among other spiritual leaders. As carriers of a two-spirited čhaŋnúŋpa he has chosen to adhere to a spiritual calling, giving a voice to other LGBT+ individuals and aspiring musicians in the community.
Adam P. Miller is the Associate Director of Bands/Director of Athletic Bands and Assistant Professor of Music Education at ATU. His responsibilities include conducting the Symphonic and Concert Bands, directing the ATU Band of Distinction and pep bands, teaching undergraduate courses in secondary instrumental methods, marching band techniques, and instrumental arranging, as well as graduate courses in drill design and marching band pedagogy. Prior to teaching at the university level, Dr. Miller was Director of Bands at Morley Stanwood High School in Morley, MI.
Dr. Miller holds a Bachelor of Music Education and a Master of Music Performance degree in Wind Conducting from the University of Toledo, and a Doctor of Music Arts degree in Wind Conducting from the University of Kentucky where he studied with Dr. Cody Birdwell and Dr. Shayna L. Stahl.
At the University of Kentucky, he served as a graduate assistant director of theWildcat Marching Band, conductor of the Concert Band, and assistant conductor of the Symphony Band.
Dr. Miller is active as a guest conductor, clinician, judge, marching band arranger, and drill writer across the United States. He holds professional memberships in the College Band Directors National Association, the National Association for Music Education, Arkansas School Band and Orchestra Association, and the National Band Association. He is a member of Phi Mu Alpha Sinfonia and an honorary member of Kappa Kappa Psi.
TJ Perry is the Associate Professor of Trumpet at Arkansas Tech University in Russellville, Arkansas. Equally at home in the Classical, Jazz, and Commercial worlds, TJ enjoys an active career as a soloist, clinician, and educator. TJ recently held the positions of principal trumpet with the Johnson City (TN) Symphony Orchestra, second trumpet with the Brasswind Quintet, and is the current principal trumpet with the progressive chamber ensemble The Detroit Brass Company. Previously, he served on the faculties of Albion College, SpringArbor University, and GrandValley State University.
In February of 2014, TJ performed with the Michigan State University Wind Symphony as principal trumpet in the 10year anniversary celebration of Pulitzer Prize winning composer John Corigliano’s Symphony 3: Circus Maximus at Carnegie Hall. As a member of the Michigan State University Trumpet Ensemble, TJ has participated in the Orvieto Musica Trumpet Festival in Italy, Exploring Trumpet in Greece with Vince Dimartino and Gerassimos Ioannidis, and the 2013 International Trumpet Guild Conference. As a member of the Cross Street Jazz Ensemble, TJ performed at the 2009 Detroit International Jazz Festival. Additionally, TJ has performed with the Detroit Symphony Orchestra, Windsor Symphony Orchestra, Lansing Symphony Orchestra, Knoxville Symphony Orchestra, and Oak Ridge Symphony Orchestra; former Tonight Show bandleader and international soloist Doc Severinsen; international trumpet soloist Vince DiMartino; and Detroit based jazz legend Marcus Belgrave. In 2010, he was a semi-finalist for the graduate division of the NationalTrumpet Competition.
In the spring of 2016,TJ completed the
Doctor of Musical Arts degree from Michigan State University, where he served as the Doctoral Teaching Assistant for the trumpet studio. His secondary focus area was Musician Health and Wellness, and the exploration of immersive performance concepts using extra-musical elements like lighting, multimedia, and original graphic elements. TJ studied at The University of Tennessee—Knoxville for the Master of Music degree as the Graduate Teaching Assistant and Eastern Michigan University inYpsilanti, MI for his bachelors degree.
Principal teachers have included Rich Illman (Michigan State University), Justin Emerich (Michigan State University), Dr. Cathy Leach (University of Tennessee), Carter Eggers (Eastern Michigan University), and Dr. Judy Palac (Michigan State University—Healthy Musicianship and Body Mapping). Additional instruction has come from Mark Byerly (University of Toledo), Vince DiMartino (international soloist) Doc Severinsen (international soloist), William Campbell (University of Michigan), and John Hagstrom (second trumpet, Chicago Symphony Orchestra).
TJ resides in Russellville, Arkansas with his wife Jessica, and sons Jackson and Lucas.
Danielle Fisher is an internationally recognized composer, arranger, and educator of music for concert bands, orchestras, and chamber ensembles of all levels. She currently lives nearAustin,Texas and is the Director of Bands at Dr. Jimmie DonAycockMiddleSchool(KilleenISD).
She spends much of her time composing and arranging for her own students as well as her colleagues and their ensembles throughout the country. In addition to her work in public schools, Danielle currently serves as Staff Arranger for the Newfound Chamber Winds, and has produced over fifteen original compositions, transcriptions, and arrangements for NCW since 2016. Danielle enjoys frequent collaborations withNCWartisticdirector,Dr.TylerAustin.
Since 2021, Danielle has regularly accepted commissions for new works and produced new publications for bands each year with an emphasis on writing meaningful music for programs with unique instrumentation.
Notable performance venues of her work include The Midwest Clinic, The President’s Own, WASBE and numerous state-wide and national music conferences and conventions.
Danielle received a B.M.E. in Music Education and a B.M. in Music Theory/Composition from Illinois State University where she studied composition with David Maslanka, Martha Horst, and David Feurzeig. After her undergraduate work, Danielle freelanced and managed largestudiosoftrumpetand frenchhornstudents, firstincentralIllinois andtheninthe Dallas-FortWorth metroplexwhileshe completedherM.M. inMusicEducation attheUniversityof NorthTexas.
Katherine Rohwer is Director of Choral Activities and Assistant Professor of Music at Arkansas Tech University, where she oversees the choral program, teaches music education and conducting, and conducts choral ensembles, including the ATU Choral Artists. She is an active guest conductor and clinician, with recent engagements including All-Region Choirs in Arkansas, the Michigan SSAA State Honors Choir, and the Illinois All-State Honors Chorus.
Previously, she served as Associate Director of Choirs at Eastern Michigan University and taught choral music for ten years at Lakeshore High School in Michigan, where her ensembles performed at the ACDA State Conference and the Michigan Youth Arts Festival. She holds a DMA in Choral Conducting and an MM from the University of Michigan, and a BM fromWestern Michigan University.
Dr. Rohwer has also worked with the University Musical Society’s Choral Union and is an alumna of the World Youth Choir, a UNESCO Artist for Peace, performing internationally, including at the 2011 Nobel Peace Prize Awards Ceremony. Outside of music, she enjoys spending time with her husbandAlex, family and friends; exploring Arkansas state parks; and the occasional game of ping-pong.
Brian Balmages is known worldwide as a composer and conductor who equally spans the worlds of orchestral, band, and chamber music. His music has been performed by groups ranging from professional symphony orchestras to elementary schools in venues such as Carnegie Hall, the Kennedy Center, Sydney Opera House, Toronto Centre for the Arts, and many more. He is a recipient of the A. Austin Harding Award from the American School Band Directors Association, won the 2020 NBA William D. Revelli Composition Contest with his work Love and Light, and was awarded the inaugural James Madison University Distinguished Alumni Award from the School of Visual and Performing Arts. In the same year, he was commissioned by his other alma mater, the University of Miami, to compose music for the inauguration of the institution’s 6th president, Dr. Julio Frenk. His music was also performed as part of the 2013 Presidential Inaugural Prayer Service, which was attended by
both President Obama and Vice President Biden.
As a conductor, Mr. Balmages enjoys regular engagements with all-state and regional ensembles as well as university and professional groups throughout the world. Notable guest conducting appearances have included the Midwest Clinic, Western International Band Clinic, Maryborough Music Conference (Australia), College Band Directors Conference, American School Band Directors Association National Conference, numerous state ASTA conferences, Teatro dell’Aquila (Italy), and others. He is an elected member of the American Bandmasters Association and has taught instrumental conducting at Towson University where he also served as Assistant Director of Bands and Orchestras. Currently, he is Director of MakeMusic Publications and Digital Education for Alfred and MakeMusic.
Dr. Jeff Bright, Department Head
Dr. Jeff Cass, Dean of the College of Arts and Humanities
ENSEMBLES
Dr. Daniel A. Belongia, Director of Bands
Dr. Jon Clements, Choirs
Dr. Adam P. Miller, Associate Director of Bands
Dr. Katherine Rohwer, Director of Choral Activities
Dr. Sean Reed, Jazz Ensemble
WOODWINDS
Dr. Phoebe Robertson, Flute
Dr. Leanna Renfro, Oboe
Professor Richard Bobo, Bassoon
Dr. Nicolas del Grazia, Clarinet
Dr. Nate Mensink, Saxophone
Dr. TJ Perry, Trumpet
Professor Dalton Snow, Trumpet
Dr. Erin Futterer, Horn
Dr. Sean Reed, Trombone & Euphonium
Professor Samuel Revis, Tuba
PERCUSSION
Dr. Cory Fica
PIANO AND PIANO PEDAGOGY
Dr. Tim Smith
Dr. Mary J. Trotter
Dr. Barbara Clements
Dr. Jon Clements
Dr. Amy Porter
MUSICOLOGY
Dr. Phoebe Robertson
MUSIC EDUCATION
Dr. Daniel A. Belongia
Dr. Jeff Bright
Dr. Adam P. Miller
Dr. Katherine Rohwer
Professor Christina Head
CONDUCTING
Dr. Daniel A. Belongia
Dr. Katherine Rohwer
MUSIC IN GENERAL STUDIES
Dr. Jeff Bright
Dr. Erin Futterer
Dr. Nate Mensink
Dr. Phoebe Robertson
Dr. Zane Gillespie
Professor Sharon Davis
COMPOSITION AND MUSIC THEORY
Dr. Nicolas del Grazia
Dr. Nate Mensink
Dr. Mary J. Trotter
Dr. Zane Gillespie
Dr. Amy Porter
Dr. Tim Smith
COLLABORATIVE PIANISTS
Dr. Adam P. Miller
Dr. Alex Polyakov
Dr. Tim Smith
Professor Garrett Snavely
Dr. Mary J. Trotter
ADMINISTRATIVE PROFESSIONALS
Belinda Hilliard
Stephanie L. Swatzel
Dear friends,
Thank you for joining us tonight in this wonderful occasion.
Starting in 1913, when the first band at Arkansas Tech University was formed by Marvin Williamson, continuing under the leadership of ‘Chief’ Gene Witherspoon and Hal Cooper, and now under the baton of Dr. Daniel A. Belongia since 2015, the ATU Symphonic Wind Ensemble is known throughout the region and the nation for its musicianship and innovation.
We are honored to extend our pursuit of musical excellence by performing in the 2026 College Band Directors National Association Southwestern Division Conference in Denton, Texas. We congratulate our students and faculty on this accomplishment and wish them the very best in their performance.
Sincerely,
K. Russell Jones President
Representing another milestone in the long and rich tradition ofArkansasTech University's commitment to music education in the state ofArkansas, we are honored to participate in the 2026 College Band Directors NationalAssociation Southwestern Division Conference - the eighth such performance by anATU ensemble since 1967.We know that we have very talented students led by the steady guidance of Dr. Dan Belongia, and we are happy to share their talents with you.The students and faculty of theArkansas Tech University SymphonicWind Ensemble are not only very talented but also extremely dedicated to their art.They have dedicated many hours to practice and rehearsal, which will be evident in their performance.The entireArkansasTech family and I are extremely proud of these students, their supportive family members, our music faculty, and everyone who has supported these students in reaching this point in their lives. On behalf ofArkansasTech University, I hope you greatly enjoy our SymphonicWind Ensemble.
Sincerely,
Dr.Adolfo Santos ExecutiveVP forAcademicAffairs and Provost
Dear colleagues and friends,
Institutions that support music programs contribute mightily to the cultural life of the campus and community that surrounds them, and ArkansasTech University is proud of its longstanding commitment to the arts.Throughout its history as a university, it has built strong traditions in music performance and music education.
As dean, nothing is more satisfying than knowing that I have assisted, however minimally, in the program’s ongoing activities and in the students’ deep engagement to be part of a community of musicians who prepare yet another generation for their own unique contributions to the profession. It is with great pride that I view tonight’s concert, for as well as a beautiful and moving performance, it is a sign of the power of the arts to transform lives, bring cultural relevance to our communities, and support our many forms of musical heritage that continue to inhabit our hearts, minds and souls.
My profound thanks go to all friends and alumni who contributed financial and logistical support for tonight’s performance.The generosity and leadership of Dr. Becky Callaway in acting as lead patron, as she has done on several occasions, is truly extraordinary.
I applaud the assistance of our administration, notably our President, Dr. Russ Jones and our Provost, Dr. Adolfo Santos. Without their support, Arts and Humanities could not hope to achieve the heights of academic excellence for which we are known, nor could we hope to expand our reach into our state, region, and around the globe. I thank our associate dean and department head, Dr. Jeff Bright, whose tireless efforts in the pursuit of maintaining such a complex department and buttressing the efforts of our faculty in their careers, deserves special recognition.
Finally, I congratulate and thank all of our music faculty and staff. Belinda Hilliard and Stephanie Swatzel have committed countless hours of logistical support for this performance and tour, and the contributions of Dr. Dan Belongia, Dr. Cory Fica, Dr. Phoebe Robertson, Dr. TJ Perry, Dr. Adam Miller, and Dr. Katie Rohwer on tonight’s program represent the artistry and generosity that will inspire us tonight and for years to come.
With all my respect and affection,
Jeffrey Cass Dean, Arts and Humanities
Dear Colleagues,
It is with great pride that we present the Arkansas Tech University Symphonic Wind Ensemble in concert, under the direction of Dr. Dan Belongia. We are honored that the ATU Symphonic Wind Ensemble was selected to perform for you this evening at the College Band Directors National Association Southwestern Division Conference. This evening’s performance reflects the tremendous hard work and dedication of our students, faculty, and staff. Our students’ exceptional talent, musical growth, and unwavering commitment to excellence have been central to bringing this program to life. As you look over the program, please take a moment to learn about our talented faculty. These individuals were also instrumental in contributing to the final product you see before you today.
As we all know, no program can thrive without broad support from many individuals. For that reason, I would like to thank Dr. Jeffrey Cass, Dean of Arts and Humanities; Mr. Bryan Fisher, Vice President for Advancement; Dr. Adolfo Santos, Provost and Vice President for Academic Affairs; and ATU President Dr. Russell Jones for their support of the ATU Music Department. Their assistance was instrumental in enabling the ATU Symphonic Wind Ensemble to perform for you this evening. I would also like to thank our superb Administrative Specialists, Belinda Hilliard and Stephanie Swatzel, who have spent countless hours organizing transportation, housing, and logistics for this performance.
We hope you enjoy tonight’s concert by the ATU Symphonic Wind Ensemble. We are grateful you chose to spend this time with us, and we extend our sincere appreciation to the University of North Texas for its generous hospitality in hosting the CBDNA Southwestern Division Conference. We offer our best wishes for a successful conference and safe travels.
Sincerely,
Jeff Bright
Associate
Head,
Dean
, College of Arts and Humanities
Department of Music
Russell Jones, President, Arkansas Tech University
Adolfo Santos, Executive VP of Academic Affairs and Provost
Jeffrey Cass, Dean, College of Arts & Humanities
Jeff Bright, Associate Dean, College of Arts & Humanities & Music Department Head
Bryan Fisher, Vice President, ATU Advancement
Melissa South, Development Officer, College of Arts & Humanities
Caroline Kitchens, Executive Director, ATU Alumni Relations & University Events
Belinda Hilliard, Administrative Specialist III
Stephanie L. Swatzel, Administrative Specialist III & Music Camp Administrator
Sam Strasner, Director of University Relations; Photographer
Bethany Swindell, Assistant Professor of EMHS; Photographer
Liz Chrisman, Photographer
Devin C. West, Director of Bands, Greenwood High School
Ryan Edgmon, Director of Bands, Mustang High School
Jarrod Beard, Director of Bands, Denton Ryan High School
Hal D. Cooper, Sr., Emeritus Director of Bands, Arkansas Tech University
...and to the so many others without whom this performance
Learn more about the Arkansas Tech University Department of Music
Scan below to listen to Arkansas Tech University Symphonic Wind Ensemble recordings
