Illinois State University ISU ReD: Research and eData

School of Music Programs Music

11-21-2019

Wind Symphony, November 21, 2019

Anthony C. Marinello III conductor

Elizabeth Thompson soloist

Follow this and additional works at: https://ir.library.illinoisstate.edu/somp

Part of the Music Performance Commons

Recommended Citation Marinello III, Anthony C. conductor and Thompson, Elizabeth soloist, "Wind Symphony, November 21, 2019" (2019). School of Music Programs. 4311. https://ir.library.illinoisstate.edu/somp/4311

This Performance Program is brought to you for free and open access by the Music at ISU ReD: Research and eData. It has been accepted for inclusion in School of Music Programs by an authorized administrator of ISU ReD: Research and eData. For more information, please contact [email protected]. Illinois State University Wonsook Kim College of Fine Arts School of Music

______

Wind Symphony

Anthony C. Marinello, III conductor Elizabeth Thompson, soloist

______

Center for the Performing Arts November 21, 2019 Thursday Evening 8:00 p.m.

This is the eighty-first program of the 2019-2020 season. Program

Please silence all electronic devices for the duration of the concert. Thank you.

Havana (2018) Kevin Day (born 1996)

Songs from a Silent Land (2019) Michael Daugherty (born 1954) I. Water is Taught by Thirst II. De Profundis III. Remember Consortium Premiere Elizabeth Thompson, soloist

- Intermission-

Mysterium (2002/2011) (born 1962)

Masks and Machines (2015) Paul Dooley (born 1983)

ASSISTED LISTENING DEVICES The Center for the Performing Arts is equipped with an infrared audio amplification system for assisted listening. Headsets and receiver packs are available, free of charge, at the Box Office or by checking with the House Manager. An ID is needed to check out the device and must be returned to the House Manager at the end of the performance.

Songs from a Silent Land TEXT

I. Water is Taught by Thirst (1859) Emily Dickinson (1830-1866; American)

Water, is taught by thirst. Land—by the Oceans passed. Transport—by throe— Peace—by its battles told— Love, by Memorial Mold— Birds, by the Snow.

I Think That the Root of the Wind is Water (1873) Emily Dickinson (1830-1866; American)

I think that the Root of the Wind is Water— It would not sound so deep Were it a Firmamental Product— Airs no Oceans keep — Mediterranean intonations— To a Current’s ear— There is a maritime conviction In the Atmosphere—

II. De Profundis (1862) Christina Rossetti (1830-1894; English)

Oh why is heaven built so far, Oh why is earth set so remote? I cannot reach the nearest star That hangs afloat.

I would not care to reach the moon, One round monotonous of change; Yet even she repeats her tune Beyond my range.

I never watch the scatter'd fire Of stars, or sun's far-trailing train, But all my heart is one desire, And all in vain:

For I am bound with fleshly bands, Joy, beauty, lie beyond my scope; I strain my heart, I stretch my hands, And catch at hope.

III. Remember (1876) Christina Rossetti (1830-1894; English)

Remember me when I am gone away, Gone far away into the silent land; When you can no more hold me by the hand, Nor I half turn to go yet turning stay.

Remember me when no more day by day You tell me of our future that you plann'd: Only remember me; you understand It will be late to counsel then or pray.

Yet if you should forget me for a while And afterwards remember, do not grieve: For if the darkness and corruption leave A vestige of the thoughts that once I had, Better by far you should forget and smile Than that you should remember and be sad.

Program Notes

Thank you for joining us for today’s performance of the Illinois State University Wind Symphony. We hope that you will enjoy our concert, and that you might consider joining us again for future performances here at the ISU School of Music. Please visit http://www.bands.illinoisstate.edu for more information. Thank you for your support!

Kevin Alexander Day (born 1996 in Charleston, WV) is an American composer, conductor, multi- instrumentalist, and native of Arlington, Texas. Day is currently pursuing a Master of Music in Music Composition degree at the University of Georgia. Day earned his Bachelor of Music Degree in Instrumental Performance from TCU (Texas Christian University), where he studied euphonium and tuba, composition, and conducting. He currently is the Composer-In-Residence for the Mesquite Symphony Orchestra in Mesquite, TX for their 2019-2021 seasons and is a current composer fellow for Cycle 8 of the Gabriela Lena Frank Creative Academy of Music.

A winner of the BMI Student Composer Award, Day has composed 142 compositions to date and has had numerous premieres and performances by bands and orchestras across the United States, Austria, and South Africa. Day’s music has been featured at conferences across the U.S. such as ITEA, ITA, SCI Region VI Conference, WIBC, NAfME All-Northwest Conference, TMEA, ABA, The Midwest Clinic, and CBDNA. Mr. Day is also the winner of the 2nd Annual Philadelphia Youth Orchestra Young Composers Competition, the Tribeca New Music Young Composers Competition, and the Dallas Winds Fanfare Contest, as well as being a finalist twice for the ASCAP Morton Gould Young Composer Award. Day is also the recipient of the W. Francis McBeth Student Musicianship Award from Kappa Kappa Psi National Honorary Band Fraternity.

He has also worked with and has been mentored by renowned composers Gabriela Lena Frank, Julie Giroux, John Mackey, William Owens, and Frank Ticheli. Kevin is a member of BMI, TMEA, ITEA, Kappa Kappa Psi, and Phi Mu Alpha Sinfonia. He is also a member of the Millennium Composers Initiative. Day's works have been recorded/distributed by Mark Records (Naxos) and are published by Murphy Music Press, LLC, Cimarron Music, and Kevin Day Music.

A program notes from the composer:

Havana was a wind ensemble piece that I started working on in 2017, got about 30 measures into writing, and then put on the shelf. I couldn’t think of what to do with it or come up with an idea, so I ended up just putting it aside until I could. I ended up forgetting about it and while I was searching through my music files one night in September 2019, I stumbled on this work and found inspiration to write on what I had. I wanted to tell a story with the piece and make it authentic and so I spend a lot of time carefully writing the work. After messing with a few titles and feeling a good amount of frustration, I decided to go with Havana, despite there being a viral pop song already in existence with the same name (a song that is honestly a guilty pleasure of mine to listen to). This piece, however, has nothing to do with the Camila Cabello mega-hit.

Havana (for Wind Ensemble) is a 7.5-minute work that is heavily influenced on Cuban music, rhythms, and percussion. I wanted to highlight different dance genres such as Salsa, Mambo, and Cha-Cha, while also making the piece in my own voice. I have a strong love for Latin Music and so this was incredibly fun to write. I sought to paint a mental picture of the city of Havana, the beautiful landscape, and the culture that it is known and beloved for. There are many “Latin-influenced” pieces for band already and so I wanted to make Havana stand out as one that is exciting and memorable. I hope that performers and audiences will tap their foot, bop their heads, and feel the music.

Multiple GRAMMY Award-winning composer Michael Daugherty has achieved international recognition as one of the ten most performed American composers of concert music, according to the League of American Orchestras. His orchestral music, recorded by Naxos over the last two decades, has received six GRAMMY Awards, including Best Contemporary Classical Composition in 2011 for Deus ex Machina for piano and orchestra and in 2017 for Tales of Hemingway for cello and orchestra. Current commissions for 2020 include new orchestral works for the Pittsburgh Symphony Orchestra and the Omaha Symphony and a concerto for violinist Anne Akiko Meyers who will give the world premiere with the National Symphony at the Kennedy Center in 2021.

Michael Daugherty was born in Cedar Rapids, Iowa in 1954 and is the son of a dance-band drummer and the oldest of five brothers, all professional musicians. As a young man, Daugherty studied composition with many of the preeminent composers of the 20th century including Pierre Boulez at IRCAM in Paris (1979), Jacob Druckman, Earle Brown, Bernard Rands and Roger Reynolds at Yale (1980-82), and György Ligeti in Hamburg (1982-84). Daugherty was also an assistant to jazz arranger Gil Evans in New York from 1980-82. In 1991, Daugherty joined the University of Michigan School of Music, Theatre and Dance as Professor of Composition, where he is a mentor to many of today’s most talented young composers. He is also a frequent guest of professional orchestras, festivals, universities and conservatories around the world.

Daugherty’s music is published by Peermusic Classical/Faber Music, Boosey & Hawkes and Michael Daugherty Music. For more information on Michael Daugherty and his music, see his publisher’s websites.

Program note from the composer:

Songs from a Silent Land (2019) for soprano and chamber winds is a 16-minute song cycle for soprano and chamber winds. Inspired by the poetry of Emily Dickinson (1830-1866) and Christina Rossetti (1830-1894), the cycle is comprised of three songs, reflecting on this world and the possibility of a next world. In the first song, I incorporate two of Dickinson’s poems that reflect on our experiences of life and nature in the world around us. The song begins with Water is Taught by Thirst (1859). Just as the poem proclaims that life’s experiences and desires are defined by absence, I interrupt the music after each line of verse to enhance our appreciation of sound through silence.

The rhythms in the vocal line for the first poem are transferred to the instrumental ensemble in the second poem, to accompany the soprano’s soulful rendition of I Think That the Root of the Wind is Water (1873). For the stirring second movement, I set the words of Rossetti’s De Profundis (1876). Her poem laments the impossibility of reaching heaven during one’s lifetime, while longing for the joy and beauty of heaven. The syncopated music for the first three quatrains is agitated, repeating the question: “Oh why is heaven built so far, / Oh why is earth set so remote?” By contrast, the music for the final quatrain is serene and uplifting: “I strain my heart, I stretch my hands, / And catch at hope.”

My song cycle concludes with a bittersweet musical rendering of Rossetti’s sonnet, Remember (1862). I have composed wistful and melancholy music for the first two quatrains (or octave), where Rossetti encourages her beloved: “Remember me when I am gone away / Gone far away into the silent land.” But with the word “Yet” at the start of the final six lines (or sestet), Rossetti changes her mind, conceding that it might be better to “forget and smile” than to “remember and be sad.” To dramatize this turn (or volta) in the sonnet, the music becomes brooding and darkly beautiful. The soprano’s ascending line at the end of the song leaves us suspended between remembering and forgetting, just like Rossetti’s paradoxical poem.

Songs from a Silent Land (2019) was commissioned by Damon Talley and Louisiana State University with a consortium of 27 universities and conductors. The world premiere was given by the Louisiana State University Wind Ensemble, conducted by Damon Talley, with Hila Plitmann, soprano, at the College Band Directors National Association (CBDNA) Convention, Arizona State University, Tempe, Arizona on February 20, 2019.

Jennifer Higdon is one of America’s most acclaimed and most frequently performed living composers. She is a major figure in contemporary Classical music, receiving the 2010 Pulitzer Prize in Music for her , a 2010 Grammy for her Percussion Concerto and a 2018 Grammy for her . Most recently, Higdon received the Nemmers Prize from Northwestern University which is given to contemporary classical composers of exceptional achievement who have significantly influenced the field of composition. Higdon enjoys several hundred performances a year of her works, and is one of today’s most performed contemporary orchestral works, with more than 600 performances worldwide. Her works have been recorded on more than sixty CDs. Higdon’s first opera, , won the prestigious International Opera Award for Best World Premiere and the opera recording was nominated for two Grammy awards. Dr. Higdon holds the Rock Chair in Composition at The Curtis Institute of Music in Philadelphia. Her music is published exclusively by Lawdon Press.

Mysterium is Higdon’s own arrangement of her sacred choral work O Magnum Mysterium for wind ensemble. The original work was reviewed in the Main Line Times:

Jennifer Higdon has become one of the most sought-after up-and-coming composers in America. She has responded to that position as well as her growing acclaim by composing music that is both challenging and accessible. Her O Magnum Mysterium is a clever setting in both Latin and English of the traditional text that marvels at the birth of the Saviour... the music is harmonically original yet compellingly comprehensible, perhaps.

The flute descants, chimes, and crystal glasses play prominent roles in both works. According to Jennifer Higdon, her compositional style utilizes a combination of melody and rhythm that reflect “our spoken language.” The phrasing of the wind version is informed by the text of the original choral setting, which is first heard in Latin and then shifts to English. To emphasize the importance of the text, Higdon set the English translation in simple monorhythmic recitations, which form the basis for the middle section of the wind setting.

Mysterium is a tribute to the wonderful mystery of how music moves us. Perhaps it is the unexplainable that creates such magic, for both the performer and the listener, but there is no denying the incredible power of a shared musical experience.

This arrangement of this work was commissioned by Scott A. Stewart, Emory University Wind Ensemble, and Scott Weiss, University of South Carolina Bands.

Paul Dooley is one of the most prolific and performed composers in America today. His path has embraced not only his Western Classical heritage, but also a cross-cultural range of contemporary music, dance, art, technology and the interactions between the human and natural worlds. His music has been described as "impressive and beautiful" by American composer Steve Reich.

Dooley’s orchestral music has been commissioned and performed by, among many others, the Nashville Symphony, Detroit Symphony, Singapore Symphony, Macau Orchestra, Pacific Symphony, Charlotte Symphony, Cabrillo Festival Orchestra, Buffalo Philharmonic, United Nations Chamber Music Society, Omaha Symphony, Charleston Symphony Orchestra, Grand Rapids Symphony, Santa Rosa Symphony, Beethoven Academy Orchestra, Radom Chamber Orchestra, Amarillo Symphony, New York Youth Symphony, Aspen Philharmonic Orchestra, Nu Deco Ensemble and Alarm Will Sound, in addition to wind ensembles such as “The President’s Own” United States Marine Band, The United States Army Band “Pershing’s Own” and the United States Navy Band.

Recent works include Circuits and Skins (2017), an EDM-inspired electronic percussion concerto for Lisa Pegher and the Lansing Symphony, Mondrian’s Studio (2019), for horn and wind ensemble, for Adam Unsworth and the University of Michigan Symphony Band, Manifestos (2019) for the universities of the Big 12 Conference and The Conductor’s Spellbook (2016), an educational, interactive and entertaining work for young audiences, which has received more than 60 performances since its 2016 premiere, originally commissioned by the Naples Philharmonic.

Born in Santa Rosa, California in 1983, Dooley began his musical life listening to Beethoven, Bruce Hornsby, Nirvana and Rush. At the age of 13, Dooley began a long mentorship with singer, songwriter, improvisor and gifted counselor Gary “Doc” Collins. In high school Dooley also studied composition with Charles Sepos, before earning bachelors’ degree in mathematics and music composition at the University of Southern California (2002-2007) with Frank Ticheli and Stephen Hartke, and a master and doctorate degree at the University of Michigan (2007-2013) with Michael Daugherty, Bright Sheng and Evan Chambers.

In 2013 Dooley joined the music faculty at the University of Michigan. He created and directs the Performing Arts Technology department’s annual Computer Music Showcase. He also co-directed the Midwest Composers Symposium and was coordinator of the “ONCE. MORE.” festival, a celebration of the 50-year anniversary of the ONCE Festival of Contemporary Music, and was co-awarded a grant from the Gilbert Whitaker Fund for the Improvement of Teaching.

Dooley’s music is the subject of several doctoral dissertations including: “Paul Dooley’s Masks and Machines: A Formal Analysis and Instructional Guide” by Kevin M. Callihan, University of Kentucky; “MANIFESTOS for Wind Ensemble by Paul Dooley: A Critical Analysis” by Eddie W. Airheart, Texas Christian University; “A Conductor’s Guide and Analysis of Selected Works by Paul Dooley” by Jason Gardner, University of Illinois.

Dooley is a frequent guest of professional orchestras, university wind ensembles and festivals in the United States and around the world. His works have been performed in significant venues including Carnegie Hall, Walt Disney Concert Hall, Royce Hall, Hill Auditorium, the Segerstrom Center for the Arts, Schermerhorn Symphony Center, Orchestra Hall in Detroit, Sala Filharmonia Warszawa, Singapore’s Victoria Concert Hall and Chicago’s Symphony Center, and featured on several episodes of NPR’s “Performance Today” with Fred Child.

Dr. Dooley has received a wide range of awards for his work, including both the 2016 Sousa/ABA/Ostwald Award and the 2015 William D. Revelli Prize for Masks and Machines (2015), the 2013 Jacob Druckman Award for orchestral composition from the Aspen Music Festival for Point Blank (2011) and young composer awards from Broadcast Music Inc. (BMI) for Dani’s Dance (2007) and the American Society of Composers, Authors and Publishers (ASCAP) for Gradus (2009).

Program notes from the composer:

Masks and Machines (2015) was commissioned by a consortium of wind bands organized by Timothy Shade in honor of Gary Green's retirement from the Frost School of Music at the University of Miami. Masks and Machines is inspired by the early twentieth century works of Bauhaus artist Oskar Schlemmer, and the Neoclassical music of Igor Stravinsky. I admire the simplicity of shapes and color in Schlemmer's works such as the "Bauhaus Stairway" and "Triadic Ballet" as well as the renaissance and baroque musical influences in Stravinsky's "Pulcinella." Masks and Machines contains three contrasting character pieces featuring renaissance brass music, Baroque fortspinnung in virtuosic mallet percussion, lush oboe, clarinet and bassoon solos, and -like flute rips.

Biographies

Dr. Anthony C. Marinello, III serves as Assistant Professor of Music and Director of Bands at Illinois State University where he is the conductor and music director of the Illinois State University Wind Symphony and Symphonic Winds. In addition to overseeing all aspects of the wind band program, he leads the graduate program in wind conducting and teaches undergraduate courses in instrumental conducting.

As conductor of the Illinois State University Wind Symphony, Dr. Marinello has collaborated with numerous esteemed colleagues and composers including William Bolcom, Steven Bryant, Donald Grantham, and Chen Yi. He is also active in the commissioning and performing new works for wind band including a recent commission, world premiere, and subsequent recording of Come Sunday for wind ensemble by composer Omar Thomas.

He joined the faculty at Illinois State University after serving at The University of Texas at Austin as the Assistant Director of the Longhorn Band and Director of the Longhorn Pep Band. Prior to his appointment at The University of Texas, Marinello served on the faculty of Virginia Tech as Assistant Director of Athletic Bands. Marinello has previously taught in the public schools of Louisiana, Ohio, and Texas and remains committed to serving the music education community as an active guest conductor, clinician, and adjudicator.

Dr. Marinello has been inducted into Phi Beta Mu International Bandmasters Fraternity. He is the recipient of numerous prestigious awards including the Illinois State University College of Fine Arts Service Initiative Award, the Illinois State University College of Fine Arts Research Initiative Award, the Illinois State University New Faculty Start-up Award, The Eyes of Texas Excellence Award, and the Delta Omicron Music Professor of the Year Award at Virginia Tech. He has received invitations to participate in the National Band Association’s International Conductor’s Symposium in Rome, Italy, the West Point Conducting Workshop, and the National Band Association’s Young Conductor Mentor Project.

Dr. Marinello holds memberships in the College Band Directors National Association, the National Association for Music Education, Tau Beta Sigma, Kappa Kappa Psi, and Phi Mu Alpha Sinfonia. Marinello holds the Bachelor of Music Education degree from Louisiana State University, the Master of Music Degree from the University of Cincinnati College-Conservatory of Music, and the Doctor of Musical Arts Degree from The University of Texas at Austin.

Elizabeth Thompson made her debut to Bloomington-Normal audiences as the mezzo-soprano soloist in Beethoven's 9th Symphony with the Illinois Symphony Orchestra in the fall of 2018. An art song enthusiast, Thompson has performed numerous recital and chamber works including Brahms' Zwei Gesänge für eine Altstimme mit Bratsche und Klavier; Grieg's Haugtussa; Wolf's "Mignon" Lieder; Debussy's Proses lyriques; Poulenc's Tel jour, telle nuit; Berg's Sieben frühe Lieder; Walton's Façade; Strauss' Vier Letzte Lieder, and Andromache's Farewell by Barber. In 2018, she was featured in Southern Illinois University's "Outside the Box" New Music Festival, performing works by Ned Rorem as well as Richard Lavenda. In 2019, she similarly participated in ISU's RED NOTE New Music Festival, featuring works by Eric Moe. Thompson has also been highlighted on the operatic stage in works such as Carmen, Suor Angelica, Florencia en El Amazonas, Maria Stuarda, Die Zauberflöte, and The Consul.

In addition to being a regularly engaged performer and a passionate teacher, Thompson earned a Doctorate of Musical Arts degree from the University of Illinois in 2015. She has received awards through the Orpheus National Vocal Competition and the Metropolitan Opera National Council Auditions. Originally trained as a mezzo-soprano, Thompson has also sung soprano repertoire professionally. Her primary teachers have included Shirley Close, Kelley Hijleh, John Kramar, and Yvonne Gonzales Redman. A student-centric teacher, she emphasizes skills which provide a technical foundation to support thoughtful dramatic communication and longevity of the vocal instrument. Thompson teaches Applied Voice and Vocal Pedagogy at Illinois State University.

Illinois State University Wind Symphony Anthony C. Marinello, III, conductor

Flute Trumpet Samantha Adams* Eric Caldwell Kaela Bonow Trevor Gould* Elizabeth Briney Brendan Korak Natalie Lindig Andrew Ossler Brianne Steif Zachary Taylor Guanghao Xia Oboe Lucas Yoakam Anastasia Ervin Marisa Miko* Trombone Alex Widomska Emma Benjamin Emanuel Guzman Clarinet Zachary Lew* Samuel Frosch (bass/contra/soprano) AJ Nemsick (bass) Freda Hogan Daniel Streib Morgan Jasien Danny King Euphonium Kara Kirkus Erik Eeg* Benjamin Sanetra Thomas Shermulis (bass) Tuba Ladarius Young David Basich Brian Zielinski* Derek Zimmerman*

Bassoon Percussion Harrison Collins Miles Bohlman Nickolai Podvin* Christopher Brandt Bradley Sarmiento Jenn Carver Elliott Godinez* Saxophone Ryan Lauciello Marwin Esguerra Jacob Okrezsik Davis Hale* Andrea McAfee Double Bass Tyler Schaefers* Mollie Zweiban Danielle Vescovi Keyboard Horn Stephanie An Klara Farren Allyson Miller Harp Mary Monaghan* Autumn Selover Tom Wade Leah Young *Denotes Section Leader

THANK YOU

Illinois State University Wonsook Kim College of Fine Arts

Jean Miller, dean Sara Semonis, associate dean of research and planning Janet Tulley, assistant dean of academic programs and student affairs Nick Benson, coordinator, Center for Performing Arts Steve Parsons, director, School of Music Ann Haugo, director, School of Theatre and Dance Michael Wille, director, Wonsook Kim School of Art Aaron Paolucci, director, Arts Technology Program Kendra Paitz, director and chief curator, University Galleries Stephanie Kohl Ringle, business communications associate Eric Yeager, director, CFAIT

Illinois State University School of Music

A. Oforiwaa Aduonum, Ethnomusicology Marie Labonville, Musicology Allison Alcorn, Musicology Katherine J. Lewis, Viola Debra Austin, Voice Anne McNamara, Trumpet Mark Babbitt, Trombone Shawn McNamara, Music Education Emily Beinborn, Music Therapy Roy D. Magnuson, Theory and Composition Glenn Block, Orchestra and Conducting Anthony Marinello III, Director of Bands Karyl K. Carlson, Director of Choral Activities Thomas Marko, Director of Jazz Studies Renee Chernick, Group Piano Rose Marshack, Music Business and Arts Technology David Collier, Percussion and Associate Director Joseph Matson, Musicology Andrea Crimmins, Music Therapy Paul Nolen, Saxophone Peggy Dehaven, Office Support Specialist/Scheduling Lauren Palmer, Office Administrator Anne Dervin, Clarinet and General Education Stephen B. Parsons, Director Gina Dew, Music Education Advisor Ilia Radoslavov, Piano Judith Dicker, Oboe Adriana Ransom, Cello/String Project/CSA Michael Dicker, Bassoon Kim Risinger, Flute Geoffrey Duce, Piano Cindy Ropp, Music Therapy Ellen Elrick, Music Education Andy Rummel, Euphonium/Tuba Tom Faux, Ethnomusicology Tim Schachtschneider, Facilities Manager Angelo Favis, Guitar and Graduate Coordinator Carl Schimmel, Theory and Composition Tim Fredstrom, Choral Music Education Daniel Peter Schuetz, Voice Sarah Gentry, Violin Robert Sears, Trumpet David Gresham, Clarinet Lydia Sheehan, Bands Office Administrator Mark Grizzard, Theory and Choral Music Anne Shelley, Milner Librarian Christine Hansen, Lead Academic Advisor Matthew Smith, Arts Technology Kevin Hart, Jazz Piano and Theory David Snyder, Music Education Phillip Hash, Music Education Ben Stiers, Percussion/Director of Athletic Bands Megan Hildenbrandt, Music Therapy Thomas Studebaker, Voice Rachel Hockenbery, Horn Erik Swanson, Jazz Guitar Martha Horst, Theory and Composition Elizabeth Thompson, Voice Mona Hubbard, Office Manager Tuyen Tonnu, Piano Aaron Jacobs, Violin Rick Valentin, Arts Technology John Michael Koch, Vocal Arts Coordinator Justin Vickers, Voice William Koehler, String Bass Michelle Vought, Voice MaryKate Kuhne, Assistant Director of Bands Roger Zare, Theory and Composition

Band Graduate Assistants

Eric Eeg, Marisa Miko, AJ Nemsick, Jacob Okrzesik, Zachary Taylor