&WIND SYMPHONY SYMPHONIC BAND
WEDNESDAY, SEPTEMBER 24, 2025 at 7:30 p.m.
HODGSON CONCERT HALL
Wednesday, September 24, 2025 at 7:30 p.m.
Hodgson Concert Hall
UGA Performing Arts Center
University of Georgia Symphonic Band
Michael C. Robinson, Conductor
Jordan M. Fansler, Doctoral Conducting Associate
Tracy Videon, Guest Conductor / Visiting Research Scholar
University of Georgia Wind Symphony
Jack A. Eaddy Jr., Conductor
Derik J. Wright, Doctoral Conducting Associate
PROGRAM
A Festival Prelude
Sea Legend (Ballet Suite)
Prelude
The Man on the Shore
Gavotte (The Woman’s Dance)
The Sea’s Power
Arabesque
Hymn of St. James
Jordan M. Fansler, Doctoral Conducting Associate
Tracy Videon, Guest Conductor
Variations on an American Folk Song
University of Georgia Symphonic Band INTERMISSION
World Premiere
Alfred Reed
Esther Rofe arr. Tracy Videon
Samuel Hazo
Timothy Jackson
Reber Clark
University of Georgia Wind Symphony
Selections from “The Danserye”
I. La Morisque
II. Bergerette
III. Les Quatre Branles
IV. Fagot
V. Den Hoboecken Dans
VI. Rondo & Salterelle
VII. Ronde & Aliud
VIII. Basse Dans: Mon Desir
IX. Pavane: La Battaile
Bach’s Fugue á la Gigue
Grande Symphonie Funèbre et Triomphale
II. Oraison funèbre
Joshua Bynum, Professor of Trombone
Cosmopolitan America March
First Suite in E-flat
I. Chaconne
II. Intermezzo
III. March
Symphonic Metamorphosis on Themes of Carl Maria von Weber
IV. Marsche
Derik J. Wright, Doctoral Conducting Associate
Tielman Susato arr. Patrick Dunnigan
J.S. Bach trans. Gustav Holst
Hector Berlioz
Helen May Butler
Gustav Holst ed. Colin Matthews
Paul Hindemith trans. Keith Wilson
Flute
UNIVERSITY
Michael C. Robinson, Conductor
Jordan M. Fansler, Doctoral Conducting Associate
Tyson van der Burgh
Jayden Lin
Emmalee O’Dell
Danny Risner
Daniel Torres Garcia
Oboe
Sydney Brockway
Emma Castleberry
Maci Hamilton
Jennifer Tran
Clarinet
Zaylen Boston
Jenna Lofton
Alexa Smith
Nicole Soto-Arambula
Bass Clarinet
Stewart Runyon
Bassoon
Nathan Bine
Felipe Zimelewicz Pires
Alto Saxophone
Maddi Finn
Sadie Landon
Collin O’Brien
Madelynn Rayner
Jackson Tadlock
Tenor Saxophone
Cooper Griner
Tucker Rollins
Baritone Saxophone
Maggie Watson
Horn
Ava Castleberry
Della Frazier
Grasu Mwakaliku
Ebony Nicholson
Aeddon Sresthadatta
Trumpet
Sarah Bowden
Bo Brown
Benjamin Githanga
Henry Kim
Nathan Pak
Brian Pena
Tristian Pope
Trombone
Tyler Carver
Jacob Duda
Daniel Lu
Mikayla Steuer
Anthony Tran
Jonah Tully
Bass Trombone
William Emde
Euphonium
Rafael Bustamante
Steven Lubitz
Luke Squier
Tuba
Brock Bell
Luke Greenfield
Riley Maloney Percussion
Margaret Bly
Arnav Gupta
Kelly Harbin
Mary Rudd
Nikhil Young
Piano
Tucker Rollins
*Members of the University of Georgia Concert Ensembles are listed alphabetically to acknowledge each performer’s unique contribution to our shared artistic endeavors.
Jack A. Eaddy Jr., Conductor
Derik J. Wright, Doctoral Conducting Associate
Flute/ Piccolo
Lyla Bingaman
Jenifer Dunn
Rose Fitzgerald
Olivia Simpson
Zoe Stewart
Oboe/ English Horn
Chloe Chun
Aidan Furman
Ele Louis
Carter Reed
Emma Walters
Clarinet
Annalee Garland
Emma Hu
William Kaplan
Morgan Loper
Maggie Quesenberry
Sophie Ray
Kelsey Roselli
Bass Clarinet
Ethan Campbell
Bassoon
Nathan Bine
Jordan Johnson
Drew Kruzsynski
Skylar Ward
Saxophone
Ashley Emerton
Antionio Aguilar
John Casey Matheson
Mason Pounds
Alexander Sales
Trumpet
Justin Arnold
Luke Barrett
Cameran Butryn
Teddy Cone
Colin Kennedy
Hayes Thomas
Nathan Vazquez
Matthew Young
French Horn
London Brooks
Ava DeFillipo
Riley Kuhlken
Chance Salter
Makenzie Shields
Anleah Walker
Trombone
Connor Fenneran
Ian Harding
Sean Helms
Alaina King
Juwan Murphy
Euphonium
Ava Rogers
Kara Thaxton
Tuba
Moses Bannister
Charlie Pratt
String Bass
Wueliton Dal Pont
Guitar
Juan Felipe Avila Dallos
Percussion
Miles Bell
David MacPherson
Jack Sweeney
Jacien Thorne
Austin Waters
Mary Webb
Haley Weldin
*Members of the University of Georgia Concert Ensembles are listed alphabetically to acknowledge each performer’s unique contribution to our shared artistic endeavors.
A Festival Prelude (1956) (4’30”)
Alfred Reed (1921-2005)
This work was composed for the Twenty Fifth Anniversary of the Tri-State Music Festival, located in Enid, Oklahoma. In the score, Alfred Reed wrote:
The music is built up entirely from one main theme and two fanfare-like figures that occur throughout the score. After an opening flourish developed from the first of these fanfare phrases, the main theme is presented in a sweeping unison by the woodwinds, saxophones, cornets, with brass interjections. This leads to the second of the fanfare figures, which builds up to another statement of the main theme by the full band. After a powerful climax, the main theme is once again stated, this time by a richly melodic texture of woodwinds, horns, and saxophones in a quiet, legato variation, in contrast to what has gone before. The second fanfare figure resumes, and, after building up to another climax, the main theme is presented as a processional march, with the first fanfare as a contrapuntal accompaniment. The close is a final statement of the main theme, developed in massive brass chords to a thundering conclusion.
Program Note by the Composer
Alfred Reed first developed his compositional skill during World War II when he served as Radio Production Director and Associate Conductor of the 529th Army Air Corps Band, producing over 150 weekly broadcasts and composing and arranging nearly 100 works for band. Following the war, Reed studied composition with Vittorio Giannini at the Juilliard School. He later received his BM and MM degrees from Baylor University. For years, he taught composition and conducting at the University of Miami in Coral Gables, Florida. In his lifetime, Reed composed over 250 published works for wind band, chorus, orchestra, chamber ensemble, and solo instrument.
Sea Legend (Ballet Suite) (1943/2025) (7’00”)
Esther Rofe (1904-2000)
In December 1935, excerpts from a Sea Ballet composed by Rofe were performed by the BBC Edinburgh Orchestra. In Sydney she collaborated with choreographer Dorothy Stevenson to revise this ballet, now called Sea Legend, which was premiered in Melbourne by the Borovansky Ballet in 1943, breaking records for ticket sales. It was subsequently presented more than 200 times throughout Australia and New Zealand, and a further fifty-five times in Britain by the Mona Iglesby Company, at large venues including London Coliseum – three times more performances than the total number of symphonic-scale works of fifteen minutes or longer by Australian composers performed in the same era. Three more popular ballets cemented her reputation as one of the most successful composers for the theatre. In spite of Rofe’s achievements, no recordings of Sea Legend exist, except for a rough home-made tape of the composer at the piano. This suite for wind band is intended to re-introduce Rofe’s music to concert halls for the enjoyment of twenty-first century musicians and their audiences.
Esther Rofe was born in Melbourne, Australia, where she studied composition and performed professionally from her teenage years. During the 1930s she studied composition, conducting, score-reading, and orchestration at London’s Royal College of Music, learning from Ralph Vaughan
Williams, Herbert Howells, and Arthur Benjamin. Until war intervened, she also composed and conducted music for travel documentaries and worked as assistant to Gordon Jacob, adapting ballet scores for the Sadler’s Wells orchestra. After 1940 she lived and worked in Australia.
Arabesque (2008) (6’00”)
Samuel Hazo (b. 1966)
Arabesque was commissioned by the Indiana Bandmasters Association and written for the 2008 Indiana All-State Band. Arabesque is based on the mystical sounds of Middle Eastern music and it is composed in three parts. “Taqasim” (tah’-zeem), “dabka” (dupp-keh) and “chorale.” The opening flute cadenza, although written out in notes, is meant to sound like an Arabic taqasim or improvisation. Much the same as in jazz improvisation, the soloist is to play freely in the scales and modes of the genre. In this case, the flute plays in bi-tonal harmonic minor scales, and even bends one note to capture the micro-tonality (quarter-tones) of the music from this part of the world. However, opposite to jazz, taqasim has very little change to the chordal or bass line accompaniment. It is almost always at the entrance to a piece of music and is meant to set the musical and emotional tone.
The second section, a dabka, is a traditional Arabic line dance performed at celebrations, most often at weddings. Its drum beat, played by a dumbek or durbake hand drum is unmistakable. Even though rhythmically simple, it is infectious in its ability to capture the toe-tapping attention of the listener. The final section, the chorale, is a recapitulation of previous mystical themes in the composition, interwoven with a grandeur of a sparkling ending.
Program Note by the Composer
Samuel R. Hazo is an American composer. He received his bachelor’s and master’s degrees from Duquesne University where he served on the Board of Governors and was awarded as Duquesne’s Outstanding Graduate in Music Education. In 2003, Hazo became the first composer in history to be awarded the winner of both composition contests sponsored by the National Band Association. He has composed for the professional, university, and public school levels in addition to writing original scores for television, radio, and the stage. His original symphonic compositions include performances with actors Brooke Shields, James Earl Jones, David Conrad, and Richard Kiley. He has also written symphonic arrangements for three-time GRAMMY Award winning singer/songwriter Lucinda Williams. Mr. Hazo’s works have been premiered and performed at the Music Educators’ National Conference, Midwest Band and Orchestra Clinic, World Association for Symphonic Bands and Ensembles Convention, National Honor Band of America, National Band Association/TBA Convention, College Band Directors’ National Association Convention and also aired in full-length programs on National Public Radio. He has served as composer-in-residence at Craig Kirchhoff’s University of Minnesota Conducting Symposium and has also lectured on music and music education at universities and high schools internationally. In 2004, Mr. Hazo’s compositions were listed in a published national survey of the “Top Twenty Compositions of All Time” for wind band.
Variations on an American Folk Song (2024) (4’00”)
Timothy Jackson (b. 2006)
Inspired by Charles Ives’ all time classic Variations on America, this symphonic piece utilizes many of the themes at the heart of American folklore to bring the stories of old to life. Variations on an American Folk Song uses the classic melody of Yankee Doodle in various contexts, with traditional statements, mixed meter and creative melodic voicing in all ranges to display the spirit of American folklore
Timothy Jackson is a second-year undergraduate from Jacksonville, FL. He is currently studying both Music Performance and Composition at the Hugh Hodgson School of Music. An avid trumpet player since the 4th grade, Timothy has been playing and writing music for over a decade. His works have been performed by high schools, local colleges, churches and various UGA ensembles. Timothy hopes to graduate from the University of Georgia and pursue a career in professional playing and musical composition.
Hymn of St. James (2000) (6’10”)
Reber Clark (b. 1955)
Over the years, many people have asked me about the origin of this work. Hymn of St. James is a composition for band based on the hymn Let All Mortal Flesh Keep Silence, which is set to a traditional seventeenth century French carol melody. I was raised in the Episcopal Church and this was one of a very few hymns that fascinated me from a very early age. The melody always haunted me and, having the opportunity to write a piece completely unfettered by money or time constraints, I decided to utilize this childhood memory.
Program Note by the Composer
Reber Clark is an American composer and trumpeter. Clark attained a B.A. degree in music education under the direction of Gene Witherspoon, and studied composition under James Perry while attending Arkansas Tech University in Russellville, Arkansas. He taught in the public schools for several years before leaving that profession to pursue a career as freelance composer, arranger, and performer. Mr. Clark has fulfilled numerous commissions for college, high school, and middle school bands. He has been a speaker at the national ASBDA convention speaking on procedures for commissioning a new work. He has arranged hundreds of talent charts and production numbers for state scholarship pageants, “gridiron,” and other variety shows. His performance experience includes many years on trumpet as a studio musician. He has performed in bands for internationally known performers such as Bob Hope, Mitzi Gaynor, the Four Tops, The Temptations, and others, including a road tour as lead trumpet for the New Sam and Dave Revue.
Selections from “The Danserye” (1550/2002) (20’45”)
Tielman Susato (1510-1570)
The Danserye is a set of instrumental dances based on popular tunes of the time, arranged by Susato and published in 1551 as Het derdemusyckboexken. With more than fifty individual dances in a variety of forms, the collection is notable for its simple textures and strict homophony. Specific instrumentation is not indicated, thus suggesting that the tunes were performed by whatever combination of winds and strings was available.
Selections from “The Danserye” is a new setting for wind band consisting of nine dances fashioned into an extended symphonic suite. The arrangement utilizes the full resources of the modern wind band, featuring various sections (or consorts of instruments) in alternation with powerful tutti passages. While the wind parts remain faithful to the original material, the dances are energized with a healthy dose of contemporary percussion effects and a significant part for acoustic guitar. This blend of sound generates a new but familiar element, thus making something very modern out of music that is more than 450 years old.
Program Note by Patrick
Dunnigan
Tielman Susato was a prominent Renaissance composer, instrumentalist, and publisher from the sixteenth century, born around 1500 in Antwerp, Belgium. He is best known for his contributions to Renaissance music, especially his lively dance music, choral works, and instrumental compositions. Susato was also a successful music publisher, producing influential collections of music that helped disseminate early European music across the continent. His work is characterized by its lively rhythms and melodic clarity, reflecting the vibrant musical culture of the Renaissance period.
Fugue à la Gigue (1928) (3’)
J.S. Bach (1685-1750) Trans. Gustav Holst
When Holst was commissioned to write Hammersmith for the BBC Wireless Military Band in 1928, he felt rather out of practice in orchestrating for the medium. For some years he had had the idea of arranging some Bach fugues for brass and military band, so he set himself the task of scoring the Organ Fugue in G Major BWV 577 (from Preludes, Fugues and Fantasias). He, rather than Bach, called it Fugue à La Gigue.
The piece made an ideal exercise, and Holst’s brilliant dovetailing of the counterpoint between different instruments shows his mastery. The piece is technically demanding and the characteristic unison clarinet writing suggests the orchestral conception of a large wind ensemble rather than a band. It was this conception which the composer carried forward into Hammersmith.
Fugue à La Gigue was published for military band in 1928 by Boosey & Hawkes and shortly afterwards for orchestra, but with only short scores, as was customary at the time.
Program Note by the Publisher
J.S. Bach was a renowned German composer and musician of the Baroque period. He is celebrated for his extraordinary skill in composing complex and expressive music, including works such as the
Brandenburg Concertos, the Well-Tempered Clavier, and the Mass in B minor. Bach’s compositions are known for their technical mastery, intricate counterpoint, and deep spiritual expression. His influence on Western classical music is profound, and he is regarded as one of the greatest composers of all time.
Grande Symphonie Funèbre et Triomphale (1840) (9’)
Hector Berlioz (1803-1869)
Berlioz wrote the Grande Symphonie Funèbre et Triomphale in 1840 to commemorate the tenth anniversary of the July Revolution that brought Louis-Philippe to power. It premiered in Paris and was intended to be performed outdoors with a large ensemble of over 200 players. Richard Franko Goldman rediscovered the piece and gave the first American performance in 1947. Grande Symphonie Funèbre et Triomphale has three movements, which are meant to be performed back to back. The second movement incorporates a trombone solo that represents a recitative and blessing from clergymen. Until this point, the trombone was seldom used as a solo voice. Berlioz added optional string parts for a performance in 1842 and choral parts soon after. He referred to the final movement as an “indestructible war horse” and arranged it for chorus, vocal solo, and piano accompaniment.
Hector Berlioz was a French Romantic composer born in 1803, renowned for his innovative and expressive orchestral works. He is best known for his groundbreaking compositions such as the Symphonie Fantastique, which showcased his talent for vivid storytelling through music. Berlioz was also a skilled conductor and music critic, and he played a key role in expanding the size and scope of the orchestra. His inventive use of orchestration and emotional depth had a lasting impact on classical music, making him one of the most influential composers of the nineteenth century.
Cosmopolitan America March (1904) (3’)
Helen May Butler (1867-1957)
Composed by renowned bandleader Helen May Butler, Cosmopolitan America March was written for the 1904 St. Louis World’s Fair and was selected as the official march for Theodore Roosevelt’s presidential campaign. Butler was a virtuoso in her own right and her ensembles had a wellearned reputation for musical excellence. Butler directed the premier band of professional female musicians, and she was frequently referred to as the “Female Sousa.”
Program Note by the Publisher
Helen May Butler was an American composer, cornetist, and conductor, known for leading the first professional all-women’s band in the United States. Born on a farm near Keene, New Hampshire, she studied violin and became proficient on both the cornet and violin. Her first conducting experience was with the Talma Ladies Orchestra, which later evolved into her own band. From 1900 to 1912, her band gained fame through extensive tours across America, earning her the nickname “female Sousa,” with Sousa himself congratulating her on her talent. Though she composed little, her Cosmopolitan America March served as the official campaign march for Theodore Roosevelt in 1904. After her touring years, she settled in Kentucky, performing as a solo cornetist, and was involved in public service and social organizations. Recognized for her pioneering contributions to women in music, she was inducted into the Women Band Directors Hall of Fame in 1995, with her
First Suite in E-flat (1909/1984) (10’45”)
Gustav Holst (1874-1934)
Gustav Holst’s First Suite in E-flat… occupies a legendary position in the wind band repertory and can be seen, in retrospect, as one of the earliest examples of the modern wind band instrumentation still frequently performed today. Its influence is so significant that several composers have made quotation or allusion to it as a source of inspiration to their own works.
Holst began his work with Chaconne, a traditional Baroque form that sets a series of variations over a ground bass theme. That eight-measure theme is stated at the outset in tubas and euphoniums and, in all, fifteen variations are presented in quick succession. The three pitches that begin the work – E-flat, F, and B-flat, ascending – serve as the generating cell for the entire work, as the primary theme of each movement begins in exactly the same manner… The Intermezzo, which follows is a quirky rhythmic frenzy that contrasts everything that has preceded it. This movement opens in C minor, and starts and stops with abrupt transitions throughout its primary theme group…
The March that follows immediately begins shockingly, with a furious trill in the woodwinds articulated by aggressive statements by brass and percussion. This sets up the lighthearted and humorous mood for the final movement, which eventually does take up the more reserved and traditional regal mood of a British march and is simply interrupted from time to time by an uncouth accent or thunderous bass drum note. The coda of the work makes brief mention of elements from both the Chaconne and Intermezzo before closing joyfully.
Program Note by Jacob Wallace
Gustav Holst was a British composer born in 1874, renowned for his orchestral and choral works. In addition to his contributions to classical music, Holst made significant contributions to wind band music, composing a variety of works that showcased the capabilities of wind ensembles. His compositions, such as First Suite in E-flat for Military Band and Second Suite in F for Military Band, are considered foundational pieces in the wind band repertoire, praised for their innovative use of harmony, color, and form. Holst’s works greatly influenced the development and popularity of wind band music, making him a key figure in expanding the genre.
Symphonic Metamorphosis on Themes of Carl Maria von Weber (1943) (4’25”)
Paul Hindemith (1895-1963)
Symphonic Metamorphosis was premiered by the New York Philharmonic on January 20th, 1944, with Artur Rodziński conducting. It has since become one of Hindemith’s more popular and enduring works. It was inspired in part by choreographer and dancer Léonide Massine, who suggested to Hindemith that he compose a ballet based on Weber’s music. However, after watching one of Massine’s ballets and discovering that Massine intended to use sets and costumes designed by Salvador Dali (an artist whom Hindemith disliked), Hindemith decided to part ways with Massine, and the project was dropped. A few years later, Hindemith decided to salvage the music and write a set of variations or metamorphoses instead. The fourth movement is possibly the best-known of
the work, and it opens with a set of fanfares. Like the first movement, the fourth is also based on Weber’s Huit Pièces pour le pianoforte à quatre mains. The original theme was meant to be a funeral march; Hindemith doubles the tempo to give the previously morbid tune a jaunty, catchy feel.
Program Note by Nikk Pilato
Paul Hindemith was a German composer, conductor, and music theorist, recognized for his innovative and versatile musical style across orchestral, chamber, and operatic genres. He was a prominent figure among 20th-century German composers, known for his emphasis on craftsmanship, harmonic clarity, and his development of a distinctive musical language. Hindemith’s influential theories on music and composition, along with notable works like Mathis der Maler and Ludus Tonalis, established him as a leading voice in German music, contributing significantly to the evolution of modern classical music and maintaining a prominent position among Germany’s most important composers.
Michael C. Robinson serves as Professor of Music Education at the University of Georgia. His duties include teaching courses in instrumental music education, conducting, and as Director of the UGA Symphonic Band. Robinson previously served for eleven years as the Director of The Sudler Trophy Award winning UGA Redcoat Marching Band. A native of Florida, Robinson received B.M. and M.M. degrees in Music Education and a D.M.A. degree in Instrumental Conducting from the University of Miami. Prior to the UGA appointment, he served as Associate Director of Bands at the University of South Florida in Tampa and Director of Bands at Fort Hays State University in Hays, Kansas. Robinson also taught eleven years in the public schools of Florida, most notably as Director of Bands at Seminole High School in Pinellas County Florida. During his teaching career, Robinson has received numerous honors and awards including; Pinellas County Teacher of the Year, City of Seminole Educator of the Year, USF College of Visual and Performing Arts Outstanding Service Award, The Orpheus Award from Phi Mu Alpha, and The Friend of the Arts award from Sigma Alpha Iota, among others. Robinson is active as a guest conductor, clinician and adjudicator throughout the United States. He also has extensive experience in the marching arts having served in a variety of capacities with top DCI Drum and Bugle corps such as the Boston Crusaders, The Cadets, Carolina Crown, Iowa Colts, Madison Scouts, Suncoast Sound and Florida Wave.
Tracy Videon shares her passion for conducting and wind band repertoire as a teacher/Concert Band Coordinator at McKinnon Secondary College, and as a PhD researcher at the Melbourne Conservatorium of Music, University of Melbourne, under the academic supervision of Dr. Nicholas Enrico Williams. Tracy directs ensembles of all levels, including regular guest conducting the University of Melbourne Wind Symphony and Concert Band. During a forty-year career as a music educator, Tracy has taught instrumental music and directed ensembles in schools across Melbourne (Victoria) and in the Riverina district of New South Wales. She also served as a musician in the Australian Army Reserve for twenty-four years, performing as a euphonium and tuba player and a vocalist, and has been an enthusiastic practitioner and supporter of community music-making. Currently, she sings
ARTISTIC TEAM BIOGRAPHIES
with the Melbourne Symphony Orchestra Chorus. A former state president in the Australian Band and Orchestra Directors’ Association and editor of the journal Interlude, Tracy was recently recognized with ABODA Victoria’s Certificate of Excellence for outstanding achievement and contribution to music education. In 2022, she received Melbourne University’s State Music Camp scholarship for excellence in orchestral conducting.
Tracy returned to part-time postgraduate study in 2020, and she expects to complete her PhD in Music Performance (Conducting) in 2028. Her PhD project reveals the musical legacy of Australian heritage women composers through the wind band medium, advocating for neglected works through performance. She is thrilled to have the opportunity to attend the University of Georgia as an International Visiting Researcher Scholar to enrich her experience and complete a portion of her PhD project. Tracy’s research in the USA is supported by the Macgeorge Bequest.
Jordan M. Fansler is a conductor and music educator, pursuing a Doctor of Musical Arts at the University of Georgia. Fansler is a Doctoral Conducting Associate for UGA Bands, serving duties with the Wind Ensemble, Wind Symphony, Symphonic Band, and the Redcoat Marching Band. He is a recipient of the University of Georgia Presidential Graduate Fellowship.
Prior to UGA, Jordan was a Graduate Assistant at Oklahoma State University in Stillwater, Oklahoma. He was previously Director of Bands at Harold L. Richards High School in Oak Lawn, Illinois. Fansler earned his B.M.E. from the University of Illinois at Urbana-Champaign, and holds a M.M. in Wind Conducting from Oklahoma State University.
He considers his main musical influences Dr. Nicholas Enrico Williams, Dr. Bradley Genevro, Dr. Mike Fansler, Dr. Jack A. Eaddy Jr., Dr. Michael C. Robinson, Dr. Steve Peterson, Dr. Beth Peterson, and Professor Barry Houser. His professional affiliations include the National Association for Music Education, Phi Mu Alpha Sinfonia, and Kappa Kappa Psi National Honorary Band Fraternity.
Hailed for his “inspiring energy, clear musical conviction, and warm lyrical tone” (International Trombone Association Journal), Josh Bynum keeps an active schedule balancing roles as educator, soloist, chamber musician, and orchestral trombonist. In addition to serving as Professor of Trombone at the University of Georgia, a position he has held since 2010, Josh spends his summer as Trombone artist faculty for the Sewanee Summer Music Festival and is an artist & clinician for the Edwards Instrument Company.
Josh performs regularly as a first-call substitute with the Atlanta Symphony Orchestra, including the entire 2015 season. With the ASO, he appears on two commercial recordings featuring the music of Jonathan Leshnoff and Christopher Theofanidis. Bynum is also a member of the Iris Orchestra and enjoys performing with the Charleston Symphony Orchestra and Atlanta Ballet Orchestra. He plays regularly with the Atlanta Opera Orchestra, including the entire 2025 season.
Josh has given clinics and featured performances at the American Trombone Workshop, International Trombone Festival, and Georgia Music Educators Association Conference. He
has also been an invited artist and lecturer at various workshops and universities across the country and has given consortium premiere performances of several new works for trombone and wind ensemble. His solo CD Catalyst was the recipient of the UGA Creative Research Medal in Arts & Humanities and has been featured on Georgia Public Broadcasting’s Classical Today. Bynum’s contemporary chamber group the Mod[ular] Ensemble is featured on the album New Cartography, performing the music of Peter Van Zandt Lane.
His students have distinguished themselves by winning international and national competitions, attaining positions with professional performing organizations, placement at prestigious graduate programs, and appointment to academic positions (from university-level to the public school system). Bynum was recently awarded the UGA General Sandy Beaver Teaching Professorship, in recognition for sustained excellence and innovation in teaching.
Josh is a member of the ITA Pedagogy Council and serves as editor and contributor to the quarterly Pedagogy Corner column of the International Trombone Association Journal. His research interests include concepts of effective section playing and creative problem solving in the practice room.
Jack A. Eaddy, Jr., a native of Orangeburg, SC, is the Director of Athletic Bands at Western Carolina University. Eaddy serves as Director of the Pride of the Mountains Marching Band and conducts the Symphonic Band in the School of Music. Prior to his appointment at WCU, Dr. Eaddy served as Assistant Director of Bands at McNeese State University and the University of South Carolina, where he assisted with athletic bands, including the Pride of McNeese Marching Band and the Carolina Band, as well as taught music education courses.
Eaddy earned the Doctor of Musical Arts in Wind Conducting from the University of North Texas. He holds a Master of Music in Wind Conducting from the University of Georgia, and a Bachelor of Music Education degree from Florida State University. As Director of Bands at Oak Ridge High School, Eaddy developed a flourishing program that was recognized throughout the state of Florida for maintaining the highest standards in spite of the challenges that many of its students experienced. Eaddy received the Florida Music Educators Association Tom Bishop Award that recognizes a director in the state of Florida who has turned a program around, making a positive difference in a short amount of time.
Derik J. Wright is a conductor, arranger/composer and music educator, pursuing a Doctor of Musical Arts at the University of Georgia. Derik is a Doctoral Conducting Associate for UGA Bands, serving duties with the Wind Ensemble, Wind Symphony, Symphonic Band, and the Redcoat Marching Band.
Prior to UGA, Derik was a Graduate Assistant at George Mason University in Fairfax, Virginia where he earned the Master of Music in Wind Conducting. Derik serves as an arranger for the “Spartan Legion” Marching Band at Norfolk State University in Norfolk, Virginia where he also earned a Master of Music in composition & theory and a bachelor’s degree in music media. Derik was previously the band director at I.C. Norcom High School in Portsmouth, Virginia and has maintained activities as an educator and clinician with band programs in Virginia and Maryland.
ARTISTIC TEAM BIOGRAPHIES
Derik’s musical career can be attributed to his influential mentors such as Nicholas E. Williams, Jack A. Eaddy Jr., William L. Lake Jr., Anne Neikirk, Prof. William H. Beathea, Prof. Stephanie K. Sanders, Prof. Paul I. Adams, and Mr. Walter Harley. His professional affiliations include the National Association for Music Education, the Virginia Band and Orchestra Directors Association, the Society of Composers, Kappa Kappa Psi National Honorary Band Fraternity, and Phi Mu Alpha Sinfonia.
HUGH HODGSON SCHOOL OF MUSIC FACULTY
Daniel Bara, Interim Director
Brandon Craswell, Associate Director, Director of Undergraduate Studies
Emily Gertsch, Associate Director, Director of Graduate Studies
Amy Pollard, Associate Director, Director of Performance Activities
PERFORMANCE FACULTY
*Angela Jones-Reus
D. Ray McClellan
Reid Messich
Amy Pollard
Brandon Quarles
Josh Bynum
Brandon Craswell
Jean Martin-Williams
James Naigus
*Matthew Shipes
Gilbert Villagrana
Kimberly Toscano Adams
*Timothy Adams
Gregory Broughton
Jay Ivey
*Elizabeth Knight
Amy Petrongelli
Anne Slovin
Wanda Yang Temko
John Coble
Damon Denton
Scott Higgins
Grace Huang
Emely Phelps
Evgeny Rivkin
Anatoly Sheludyakov
*Liza Stepanova
Alan Woo
Levon Ambartsumian
Shakhida Azimkhodjaeva
*Daniel Bolshoy
Monica Hargrave
Michael Heald
James Kim
Edward Kreitman
Milton Masciadri
Maggie Snyder
flute
clarinet
oboe
bassoon saxophone
trombone trumpet horn horn
tuba/euphonium
trumpet percussion percussion
voice
voice
voice
voice
voice
voice
organ
piano
piano
piano
piano
piano
piano
piano
piano
violin
violin
guitar
harp
violin cello
Suziki
double bass
viola
BANDS
Mia Athanas
Brett Bawcum
Jack A. Eaddy, Jr.
*Nicholas Enrico Williams
CHORAL
Daniel Bara
Colin Mann
Daniel Shafer
COMMUNITY MUSIC SCHOOL
SUMMER CAMPS
Stephen Fischer
COMPOSITION & THEORY
Tyler Beckett
Adrian Childs
Emily Gertsch
Daniel Karcher
*Emily Koh
Peter Lane
Dickie Lee
Jared Tubbs
Trinity Vélez-Justo
JAZZ STUDIES
David D’Angelo
Gregory Satterthwaite
James Weidman
MUSIC EDUCATION
*Rebecca Atkins
Alison Farley
Tyler Goehring
Roy Legette
Kristen Lynch
Michael Robinson
Johanna Royo
Brian Wesolowski
MUSIC THERAPY
*Ellyn Evans
Sally Ann Nichols
Jenny Stull
MUSICOLOGY & ETHNOMUSICOLOGY
Karen Bergmann
Naomi Graber
*David Haas
Jared Holton
Jean Kidula
Sarah Pickett
Rumya Putcha
Joanna Smolko
OPERA
Daniel Ellis
Andrew Voelker
ORCHESTRA
Mark Cedel
RECORDING & STREAMING
Eric Dluzniewski
Paul Griffith
*Area Chair
Shaun Baer
Levi Dean
Elizabeth Durusau
Heather Gozdan-Bynum
Tony Graves
Scott Higgins
UNIVERSITY OF GEORGIA BANDS GRADUATE STAFF
Jordan M. Fansler, Doctoral Conducting Associate
R. Scott Mullen, Doctoral Conducting Associate
Derik Wright, Doctoral Conducting Associate
Joseph Johnson, Graduate Assistant
Michelle Moeller, Graduate Assistant
David MacPherson, Graduate Assistant
Edith Hollander, Administrative Assistant to the Director
Director of Public Relations
Development Associate
Music Library Manager
Undergraduate Academic Advisor
Piano Technician
Senior Piano Technician
FRI 9/26
5:30 p.m.
Ramsey Concert Hall
FREE CONCERT
Don’t miss the first “reveal” of the CMA guest artists!
Marcus Morris
Kathleen Powell
Rocky Raffle
James Sewell
Jared Tubbs
Marshall Williams
Assistant Director of Athletic Bands
Graduate Program Administrator
Administrative Associate in Bands
Production & Events Manager
Sectioning Officer
Director of Admissions
CHAMBER MUSIC ATHENS “TEASER CONCERT”
Stepanova, Zorman, and Kim present a varied program of solo, duo, and trio works including violin/piano and solo piano sonatas by Mozart and Chopin, and a colorful opera intermezzo by Granados, arranged for piano trio by the great Spanish cellist Gaspar Cassadó. The climactic work on the program is a rarely heard piano trio arrangement of Schoenberg’s passionate Romantic masterpiece “Transfigured Night” by his frequent collaborator, pianist Eduard Steuermann.
TUES 9/9
THURS 10/2
THURSDAY SCHOLARSHIP SERIES:
7:30 p.m.
7:30 p.m.
FACULTY JAZZ ENSEMBLE & JAZZ I WITH SPECIAL GUEST MICHELE CORCELLA Hodgson Concert Hall
$23, Adult
$6, Student
The School of Music Faculty Jazz Ensemble returns to Hodgson Concert Hall alongside Jazz Ensemble I for a fantastic evening of music composed by multi-award-winning composer, arranger, and conductor, Michele Corcella.
Corcella graduated in Musical Studies (DAMS) at the University of Bologna, defending a thesis on Duke Ellington’s soundtracks. In addition, while at the Bologna Conservatory, he graduated in Jazz Music, as well as Arrangement and Composition for Multimedia Music. Corcella also studied orchestral conducting at the Imola International Academy “Incontri col Maestro.”
HUGH HODGSON SCHOOL OF MUSIC STAFF